


Angel

by mylordshesacactus



Category: Le Fantôme de l'Opéra | Phantom of the Opera & Related Fandoms
Genre: Dead Dove: Do Not Eat, F/F, Gen, Screenplay/Script Format, Script Rewrite, working doc title: All Right Let's Make This Gay
Language: English
Status: Completed
Published: 2017-07-17
Updated: 2017-07-17
Packaged: 2018-12-03 11:18:43
Rating: Teen And Up Audiences
Warnings: No Archive Warnings Apply
Chapters: 2
Words: 16,577
Publisher: archiveofourown.org
Story URL: https://archiveofourown.org/works/11531121
Author URL: https://archiveofourown.org/users/mylordshesacactus/pseuds/mylordshesacactus
Summary: In which Meg Giry is the love interest she should always have been.Phantom of the Opera wasn't gay enough so I sat down with the script and fixed it.





	1. Act I

**Author's Note:**

> All right, some quick notes!
> 
> 1) Yup, this is a rewritten Phantom that places Meg in the position of love interest. I adore Raoul, I really do, and my personal preference is for a universe in which his connection to Christine is unchanged and she just ends up with Meg, with Raoul acting as a loving friend and as something of a secret-keeper for them. I may do a prose fic for that. However, the point I was making with this project is how WELL Meg can be slotted in and have it still work.
> 
> 2) An...astonishing number of lines can remain unchanged switching Meg into Raoul's spot, but I really do encourage you to read her parts properly; I've made a LOT of script alterations and had to write large portions of lyrics from scratch, and I'd love to know what you guys think of them! If I do say so myself, some of the little scraps of lyrics I've come up with are pretty beautiful.
> 
> 3) When Meg is in Raoul's place, every single interaction she has with the Phantom becomes ASTONISHINGLY bitchy. There are places where I did this on purpose, and some where I didn't even realize how much crueller it became. Enjoy.
> 
> 4) The base script I used, before I made any alterations, was an ungodly combination of like...seven different versions, many of which I've lost the links to. I borrowed stage directions from one, some descriptions from another, etc. One of these versions was, yes, the 2004 movie. I like a lot of the blocking, and I think a lot of the timing and staging choices made were a lot more effective. The hodgepodge of these scripts means that it's fairly...its own thing. Songs have been rearranged because I preferred them in one version over another. Take it as it is. I'm a Broadway fan too, please do not physically consume my flesh with rage.
> 
> The main script options I used were these two:  
> https://www.scribd.com/doc/292389946/Phantom-of-the-Opera-Full-Musical-Script  
> https://www.wattpad.com/7277180-the-phantom-of-the-opera-dialogue-and-script/page/4

**Scene 1 REHEARSALS FOR "HANNIBAL" BY CHALUMEAU**

* * *

****(We have reached the great choral scene in which HANNIBAL and his army return to save Carthage from the Roman invasion under Scipio. HANNIBAL is UBALDO PIANGI; ELISSA, Queen of Carthage (his mistress) is CARLOTTA GUIDICELLI. The two leading SLAVE GIRLS are played by MEG GIRY and CHRISTINE DAAE. MME. GIRY is the ballet mistress. M. REYER, the repetiteur, is in charge.

We join the opera towards the end of ELISSA's (CARLOTTA's) great aria. She is alone, holding a present from the approaching HANNIBAL: a bleeding severed head)

 

CARLOTTA (at the climax of an extravagant cade)  
_This trophy from our saviours,  
from the enslaving force of Rome! _

 

(A STAGE HAND carries a ladder across the stage. More STAGE HANDS are seen still constructing parts of the scenery)

 

GIRLS' CHORUS  
_With feasting and dancing and song,_  
_tonight in celebration_  
_we greet the victorious throng,_  
_returned to bring salvation!_

MEN'S CHORUS  
_The trumpets of Carthage resound!_  
_Hear, Romans, now, and tremble!_  
_Hark to our step on the ground!_

 

ALL  
_Hear the drums—Hannibal comes!_

 

(PIANGI enters, as HANNIBAL)

 

PIANGI (HANNIBAL)  _Sad to return to find the land we love  
threatened once more by Roma's far-reaching grasp. _

 

REYER (interrupting him) Signor, if you please: "Rome". We say "Rome” not "Roma".

 

PIANGI Si, si, Rome, not Roma. Is very hard for me. (practising) Rrrrrome. Rome.

 

(Enter LEFEVRE, the retiring manager of the Opera, with M. FIRMIN and M. ANDRE, to whom he has just sold it)

 

REYER (to PIANGI) Once again, then, if you please, Signor: "Sad to return."

 

LEFEVRE (to ANDRE and FIRMIN, walking blithely among the actors) This way, gentlemen, this way. Rehearsals, as you see, are under way for a new production of Chalumeau's "Hannibal"...

 

REYER (scandalized) Monsieur Lefevre! I am _rehearsing!_

 

LEFEVRE Monsieur Reyer, Madame Giry, ladies and gentlemen, please—

 

(No one is listening to him. He looks helplessly to MME. GIRY for assistance; she BANGS her cane against the stage, and suddenly there is silence.)

 

LEFEVRE: Thank you. May I have your attention, please? As you know, for some weeks there have been rumours of my imminent retirement. I can now tell you that these were all true…

 

(General exclamations and chatter at the announcement)

 

LEFEVRE ...and it is my pleasure to introduce to you the two gentlemen who now own the Opera Populaire, M. Richard Firmin and M. Gilles Andre. (Polite applause. Some bowing. CARLOTTA makes her presence felt) Gentlemen, Signora Carlotta Giudicelli, our leading soprano for five seasons now.

 

ANDRE (eager to impress) Of course, of course. I have experienced all your greatest roles, Signora.

 

LEFEVRE And Signor Ubaldo Piangi.

 

FIRMIN An honour, Signor.

 

(the rehearsal continues)

 

PIANGI (HANNIBAL)  
_Sad to return to find the land we love_  
_threatened once more by Rome's far-reaching grasp._  
_Tomorrow we shall break the chains of Rome._  
_Tonight, rejoice—your army has come home!_

 

(BALLET GIRLS begin their dance. LEFEVRE, ANDRE and FIRMIN stand centre-stage watching the ballet. They are very obviously in the way. The ballet continues under the following dialogue.)

 

LEFEVRE (indicating PIANGI) Signor Piangi, our principal tenor. He does play so well opposite La Carlotta.

 

GIRY (exasperated by their presence, bangs her cane angrily on the stage) Gentlemen, please! If you would kindly move to one side?

 

LEFEVRE My apologies, Madame Giry. (leading ANDRE and FIRMIN aside) Madame Giry, our ballet mistress. I don't mind confessing, Monsieur Firmin, I shan't be sorry to be rid of the whole blessed business.

 

GIRY We take a particular pride here in the excellence of our ballet.

 

(MEG becomes prominent among the dancers)

 

ANDRE I can see why! Especially that little blonde angel.

 

GIRY (somewhat acerbic, considering ANDRE’s unsubtle ogling) My daughter. Meg Giry. A promising dancer, Monsieur. Very promising.

 

(CHRISTINE becomes prominent. She has absent-mindedly fallen out-of-step)

 

GIRY (spotting her, bangs her cane again) You! Christine Daae! Concentrate, girl!

 

MEG (quietly, to CHRISTINE) Christine. What's the matter?

 

FIRMIN (to LEFEVRE) Daae? Curious name. No relation to the famous Swedish violinist?

 

LEFEVRE His daughter, I believe.

 

GIRY: His only child. Orphaned at seven. I think of her as a daughter also. Gentlemen, please...

 

(The ballet continues to its climax with LEFEVRE, FIRMIN and ANDRE finally herded out of the way, and ends. The CHORUS resumes)

 

CHORUS _Bid welcome to Hannibal's guests:_  
_the elephants of Carthage!_  
_As guides on our conquering quests,_  
_Dido sends Hannibal's friends!_

 

(the ELEPHANT, a life-sized mechanical replica, enters. PIANGI attempts to climb onto the elephant’s back but can’t quite make it.)

 

CARLOTTA (ELISSA)  
_Once more to my welcoming arms  
my love returns in splendour! _

 

PIANGI (HANNIBAL, clinging precariously to the side of the elephant)  
_Once more to those sweetest of charms  
my heart and soul surrender! _

 

(Throughout the final chorus FIRMIN and ANDRE are visibly distracted by the beautiful ballerinas, to the equally visible irritation of Carlotta)

 

CHORUS _The trumpeting elephants sound:_  
_Hear, Romans, now and tremble!_  
_Hark to their step on the ground!_  
_Hear the drums! Hannibal comes!_

(The elephant is led off. Two stagehands are revealed operating it from within)

 

CARLOTTA (indignant) All they want is dancing!

 

LEFEVRE (unaware, to FIRMIN and ANDRE) The Vicomte is very excited about tonight’s gala—

 

CARLOTTA (bitter laughter) Ah, is that so? I hope he is as excited by dancing girls as your new managers, because I will not be singing! Andiamo, it’s finished, bye-bye…(etc)

 

ANDRE (to LAFEVRE) ...What do we do?

 

LEFEVRE (resigned) Grovel. Grovel!

 

CARLOTTA (in the background) Bye-bye, dancing girls…!

 

FIRMIN Right.

 

(FIRMIN and ANDRE follow Carlotta, spewing general flattery. She is unimpressed. After a few moments of this:)

 

ANDRE Monsieur Reyer, isn’t there a rather marvelous aria for Elissa in Act Three of "Hannibal"? I wonder, Signora, if, as a personal favour, you would oblige us with a private rendition? Unless, of course, Monsieur Reyer objects.

 

CARLOTTA My manager commands.

 

REYER My diva commands.

 

CARLOTTA Yes! I do.

 

REYER (who is obviously very used to this) Will two bars be sufficient introduction?

 

FIRMIN Two bars will be quite sufficient

 

REYER (ensuring that CARLOTTA is ready) Signora?

 

CARLOTTA Maestro.

 

(As the introduction is played on the piano)

 

FIRMIN I keep asking you, monsieur, why exactly are you retiring?

 

LEFEVRE My health.

 

CARLOTTA (waxing melodramatic)  
_Think of me, think of me fondly, when we've said goodbye._  
_Remember me once in a while, please promise me you'll try._  
_When you find that, once again, you long to take your heart—_

 

(As CARLOTTA is singing a backdrop crashes to the floor on top of her)

 

MEG/BALLET GIRLS/CHORUS He's here: the Phantom of the Opera. He is with us. It's the ghost.

 

PIANGI (looking up, furiously) You idiots! (He rushes over to CARLOTTA) Cara! Cara! Are you hurt?

 

LEFEVRE Signora! Are you all right? Buquet! Where is Buquet?

 

PIANGI Is no one concerned for our prima donna?

 

LEFEVRE Get that man down here! (to ANDRE and FIRMIN) Chief of the flies. He's responsible for this.

 

(The drop is raised high enough to reveal upstage an old stagehand, JOSEPH BUQUET, holding a length of rope, which looks almost like a noose)

 

LEFEVRE Buquet! For God's sake, man, what's going on up there?

 

BUQUET Please monsieur, don't look at me: as God's my judge, I wasn’t at my post. Please monsieur, there's no one there! And if there is, well then...it must be a ghost.

 

MEG (looking up) _He's there; the Phantom of the Opera._

 

ANDRE Good heavens! Will you show a little courtesy?

 

FIRMIN (to MEG and the OTHERS) Mademoiselle, please!

 

ANDRE (to CARLOTTA) Signora…These things do happen.

 

CARLOTTA ‘These things do happen?’ You have been here five minutes, what do you know! Si! These things do happen! Well, until you stop these things happening, this thing does not happen! Ubaldo! Andiamo! (PIANGI dutifully fetches her furs from the wings)

 

PIANGI Amateurs.

 

LEFEVRE I don't think there's much more with which I can assist you, gentlemen. Good luck. If you need me, I shall be in Australia.

 

(He leaves. The COMPANY looks anxiously at the NEW MANAGERS)

 

ANDRE La Carlotta...Signora Giudicelli, she will be...coming back, won’t she?

 

(REYER throws his hands in the air hopelessly)

 

GIRY You think so, messieurs? I have a message, sir, from the Opera Ghost.

 

(The GIRLS twitter and twirl in fear. CHRISTINE takes hold of MEG nervously)

 

FIRMIN God in Heaven, you're all obsessed!

 

GIRY He merely welcomes you to his opera house and commands you to continue to leave Box Five empty for his use, and reminds you that his salary is due.

 

FIRMIN His salary?!

 

GIRY Monsieur Lefevre paid him twenty thousand francs a month.

 

FIRMIN Twenty thousand francs?!

 

GIRY (unaffected) Perhaps you can afford more, with the Vicomte de Chagny as your patron?

 

FIRMIN (to GIRY) Madame, I had hoped to have made that announcement myself, when the Vicomte was to join us for the gala. But obviously, we shall now have to cancel, as it appears we have lost our star!

 

ANDRE Who is the understudy for this role?

 

REYER There is no understudy, monsieur—the production is new!

 

FIRMIN Can you believe it? A full house, Andre—we shall have to refund a full house!

 

MEG Christine Daae could sing it, sir!

 

(Reaction to this from the CHORUS and BALLET GIRLS. Everyone glares at MEG, but she stands her ground.)

 

FlRMIN The chorus girl? Don’t be ridiculous.

 

MEG (to FIRMIN) She's been taking lessons from a great teacher.

 

ANDRE From whom?

 

CHRISTINE (uneasily) I don't know, sir.

 

FIRMIN Oh, not you as well!

 

GIRY Let her sing for you, monsieur. She has been well taught.

 

(A long pause; the managers exchange loaded looks, but no one protests further)

 

REYER From the beginning of the aria then, mam'selle.

 

FIRMIN Andre, this is doing nothing for my nerves...

 

ANDRE Don't fret, Firmin. She’s very pretty, at least.

 

CHRISTINE (hesitant, clearly nervous)  
_Think of me, think of me fondly, when we've said goodbye.  
Remember me once in a while, please promise me you'll try._

 

(as CHRISTINE continues, her demeanor changes; she begins to sing with confidence, vigor, and strength; the managers and those around her are shocked)

 

CHRISTINE  
_When you find that, once again, you long to take your heart back and be free,  
if you ever find a moment, spare a thought for me._

 

(Transformation to the Gala. CHRISTINE is revealed in full costume)

 

_We never said our love was evergreen, or as unchanging as the sea  
but if you can still remember, stop and think of me. _

_Think of all the things we've shared and seen;  
don't think about the things which might have been. _

 

(As she sings MEG is visible with her mother in the wings; she’s smiling softly, glowing with pride, while MME GIRY is more subdued and looks between MEG and CHRISTINE quietly)

 

 _Think of me, think of me waking, silent and resigned.  
__Imagine me, trying too hard to put you from my mind.  
__Recall those days, look back on all those times, think of the things we'll never do;_  
_there will never be a day when I won't think of you._

 

(The audience bursts into mid-aria APPLAUSE and BRAVOS. Prominent among the cheers are those of Meg, who applauds with immense enthusiasm. Her mother strokes Meg’s hair and glances up into the flies before slipping away.)

 

MEG _It’s like a dream—_ _they cheer like they love her_ _…_ Bravo!

(Her tone turns a bit wistful)

 _Yet I recall a lonely, gentle girl, an angel hiding broken wings;  
_ _And I knew I loved her long before I heard her sing._

 

CHRISTINE _Flowers fade, the fruits of summer fade; they have their seasons, so do we.  
But please promise me that sometimes, you will think…_

 

(She moves into a masterful CADENZA that shakes the rafters of the opera house. It’s ABSOLUTELY PERFECT.)

 

_...of me!_

 

(There’s a pregnant pause, but then the APPLAUSE booms and the audience leaps to its feet. Roses begin to collect on the stage. Christine offers a humble smile in response.)

* * *

**Scene 2 AFTER THE GALA**

* * *

****(The curtain closes upstage. BALLET GIRLS from the wings gush around CHRISTINE, who hands each a flower from her bouquet. REYER silently mouths _Brava_ in her direction before ducking out of the celebration)

 

GIRY (to CHRISTINE) Yes, you did well. He will be pleased. (to the DANCERS) And you! You were a disgrace tonight! Such ronds de jambe! Such temps de cuisse! Here we rehearse. Now!

 

(She emphasizes this with her cane. The BALLET GIRLS scramble into position, beginning their exercises upstage, GlRY keeping time with her stick. Variations on this continue throughout the scene)

 

(CHRISTINE moves slowly, downstage, away from the DANCERS as her dressing room becomes visible. Unseen, MEG also slips away and follows her. As CHRISTINE is about to open the dressing room door, she hears the PHANTOM's voice out of nowhere)

 

PHANTOM'S VOICE (softly) _Brava, brava, bravissima..._

 

MEG _Christine...Christine…?_

 

PHANTOM’s VOICE _Christine..._

 

(CHRISTINE is bewildered by the voice. MEG, following, has not heard it. She dances up and gently touches CHRISTINE’s elbow; CHRISTINE turns in surprise, and is relieved to see her)

 

MEG _Where in the world have you been hiding? Really, you were perfect!  
__I only wish I knew your secret! Who is this great tutor?_

 

CHRISTINE (abstracted, entering the dressing room)  
_Father once spoke of an angel. I used to dream he'd appear.  
__Now as I sing, I can sense him, and I know he's here...  
_ (trance-like)  
_Here in this room he calls me softly. Somewhere inside. hiding.  
__Somehow I know he's always with me—He, the unseen genius._

 

MEG (uneasy and concerned, taking Christine’s hands)  
_I watched your face from the shadows—distant through all the applause.  
__I hear your voice in the darkness, yet the words aren’t yours..._

 

CHRISTINE (not hearing her, ecstatic)  
_Angel of Music! Guide and guardian! Grant to me your glory!_

 

MEG (to herself) _Who is this angel? This..._

 

BOTH _Angel of Music! Hide no longer! Secret and strange angel._

 

CHRISTINE (darkly) _He's with me, even now._

 

MEG (bewildered, increasingly alarmed) _Your hands are cold._

 

CHRISTINE _All around me..._

 

MEG (gently touching CHRISTINE’s jaw) _Your face, Christine, it's white—_

 

CHRISTINE _It frightens me._

 

MEG _Don't be frightened..._

 

(THEY look at each other. The moment is broken by the arrival of GIRY)

 

GIRY Meg Giry. Are you a dancer? Then go and practice! (MEG leaves and joins the DANCERS)

* * *

**Scene 3 CHRISTINE 'S DRESSING ROOM**

* * *

 

(ANDRE, FIRMIN and the new patron, the VICOMTE DE CHAGNY are seen making their way towards the dressing room, the MANAGERS in high spirits, bearing champagne)

 

ANDRE A tour de force! No other way to describe it!

 

FIRMIN What a relief! Not a single refund!

 

ANDRE Richard, I think we've made quite a discovery in Miss Daae! Perhaps we could present the young lady to you, Monsieur le Vicomte?

 

FIRMIN (indicating CHRISTINE'S dressing room) Here we are! I believe congratulations are in order.

 

GIRY (appearing as if out of nowhere, clears her throat pointedly) I shall pass them on to her, messieurs. She has a great need for privacy following such a performance. If you please...

 

ANDRE (taken aback but unwilling to argue with her) Well! As you wish.

 

(Feathers somewhat ruffled, they move off)

 

FIRMIN (wryly) Acting every bit the lead soprano already.

 

(Unseen as GIRY casts a suspicious look at the departing managers and leaves, MEG slips out from behind a curtain, knocks at the door and enters)

 

MEG Christine Daae, why are you hiding?

 

CHRISTINE (looking up in surprise, she lights up and stands) Meg!

 

MEG Christine.

 

(They embrace and laugh. CHRISTINE moves away and sits at her dressing table)

 

CHRISTINE You’re not supposed to be here, your mother will be furious. (She smiles; her concern is not serious) I’m glad you came.

 

MEG She’ll probably only flay me a little. Oh, Christine, we’re all so proud of you! (levity passing) I wanted to see you. I worry sometimes...

 

CHRISTINE (laughing softly) I’m fine, Meg. I was thinking.

 

MEG (teasing) Maman says you do far too much of that.

 

CHRISTINE I never imagined any of this. Could you, when your mother brought me here?

 

MEG (achingly fond, sitting close to Christine) You were so quiet. But you always used to tell such wonderful stories. Things you’d read with your father, do you remember?

 

CHRISTINE (smiling slightly at the reminder) I would tell them and you would make them come to life. All those dark stories of the North. Your mother would ask—

 

MEG —whether I was a dancer or a Gothic novelist.

 

CHRISTINE (still reminiscing) You always knew my favorites. "What I love best, Lotte said, is when I'm asleep in my bed, _and the Angel of Music sings songs in my head."_

 

BOTH _"The Angel of Music sings song in my head..."_

 

MEG (soft) You sang like an angel tonight.

 

CHRISTINE (turning in her chair to look at her) Father said, "When I'm in heaven, child, I will send the Angel of Music to you". Well, my father is dead, Meg; and I have been visited by the Angel of Music.

 

MEG I believe it. (She smiles, mood shifting from tender to playful) And you’re missing your own party! Come enjoy yourself, Christine, you’ve earned it.

 

CHRISTINE No, Meg. The Angel of Music is very strict.

 

MEG (a flicker of concern, but trying to hide it) Well, tell it we won’t keep you out late. (When this doesn’t earn a laugh, she tries another tack) I’ll stay with you then. (A grin) I know where Buquet keeps his good bottles. I’ll fetch us one and we can—

 

CHRISTINE No, Meg.

 

(MME GIRY raps on the door, looking unamused. MEG winces)

 

MEG I ran off from practice. I have to go! Please don’t stay here by yourself. You deserve to be happy. (A harder rap) I’ll see you when I get back, Christine!

 

CHRISTINE Meg, I—

 

GIRY (over Christine’s faint objections) Meg Giry, if you are not in front of me in ten seconds—

 

MEG ...If I get back. Have fun, Christine, please!

 

CHRISTINE (calling after her) Meg!

 

(MEG kisses CHRISTINE quickly on the cheek, then ducks out of the dressing room and tries to make nice with her mother. GIRY is having none of it, and the conversation fades as they walk off)

 

(Tremulous music. CHRISTINE runs fingers over a single rose on a table, then takes a deep breath. She is just moving toward the door after all when the PHANTOM'S voice suddenly breaks the silence, echoing around the room like thunder.)

 

PHANTOM'S VOICE (booming)  
_Insolent girl!_ _This sweet_ _companion, basking in your glory!  
__Deviant fool! Who plays a suitor, sharing in my triumph!_

 

CHRISTINE (spell-bound)  
_Angel! I hear you! Speak, I listen. Stay by my side, guide me!  
__Angel, my soul was weak—forgive me. Enter at last, Master!_

 

PHANTOM'S VOICE  
_Flattering child, you shall know me; see why in shadow I hide.  
__Look at your face in the mirror: I am there inside!_

 

(The figure of the PHANTOM becomes discernible behind the mirror)

 

CHRISTINE (ecstatic)  
_Angel of Music! Guide and guardian! Grant to me your glory!  
__Angel of Music! Hide no longer! Come to me, strange angel._

 

(The PHANTOM beckons Christine toward the mirror)

 

PHANTOM'S VOICE  
_I am your Angel of Music.  
Come to me, Angel of Music... _

 

(CHRISTINE walks towards the glowing, shimmering glass. Meanwhile, MEG has returned. She tries the door, but finds it locked)

 

MEG Christine…?

 

(Inside the room the mirror opens. Behind it, in an inferno of white light, stands the PHANTOM. He reaches forward and takes CHRISTINE firmly, but not fiercely, by the wrist. His touch is cold, and CHRISTINE gasps. She’s heard MEG, and pauses to look back.)

 

MEG (alarmed) Christine! (She knocks harder on the door) Are you all right? Is someone there?

 

PHANTOM  
_I am your Angel of Music.  
Come to me, Angel of Music…_

 

(CHRISTINE turns to face the Phantom once again. He draws her forward and they disappear through the mirror, which closes behind her.)

* * *

**Scene 4 THE LABYRINTH UNDERGROUND**

* * *

(Subterranean gloom, through which we can discern the PHANTOM leading CHRISTINE through the darkness, deeper and deeper through the seemingly endless series of stone tunnels and stairways that rest beneath the Opera Populaire. The PHANTOM’s lantern cuts through the oppressive darkness, casting eerie shadows on the crumbling stone walls. We see CHRISTINE and the PHANTOM in a boat which moves slowly across the misty waters of the underground lake)

 

CHRISTINE _In sleep he sang to me, in dreams he came.  
That voice which calls to me and speaks my name. _

_And do I dream again? For now I find  
the Phantom of the Opera is there inside my mind. _

 

PHANTOM _Sing once again with me our strange duet.  
My power over you grows stronger yet. _

_And though you turn from me to glance behind,  
the Phantom of the Opera is there inside your mind. _

 

CHRISTINE  
_Those who have seen your face draw back in fear.  
I am the mask you wear..._

 

PHANTOM _It's me they hear._

 

BOTH _Your/my spirit and your/my voice, in one combined:  
The Phantom of the Opera is there inside your/my mind. _

 

OFFSTAGE VOICES  
_He's there, the Phantom of the Opera.  
Beware the Phantom of the Opera. _

 

PHANTOM _In all your fantasies, you always knew  
That man and mystery..._

 

CHRISTINE _...were both in you._

 

BOTH _And in this labyrinth, where night is blind,  
The Phantom of the Opera is there, inside your/my mind._

 

CHRISTINE _He's there, the Phantom of the Opera…_

 

(She begins to vocalise strangely, her song becoming more and more extravagant.)

 

PHANTOM Sing for me! Sing, my Angel of Music! etc

* * *

**Scene 5 BEYOND THE LAKE**

* * *

 

(They have reached a magnificent stone arch framing a large iron portcullis. Beyond the gate is the shimmering light of candles in darkness. The portcullis lifts, as if of its own accord, and they float into...)

 

**INT. THE PHANTOM’S LAIR**

 

(A giant palace of stone built right into the catacombs. The lair’s décor consists almost entirely of shades of black and silver, and with hundreds of candles providing points of light, the effect is not unlike stars set against a black sky. A massive pipe organ dominates the far wall. The organ has a composition resting on it, unfinished. The PHANTOM sits down and joins the accompaniment on the organ. CHRISTINE looks on, captivated.)

 

PHANTOM _I have brought you to the seat of sweet music's throne.  
To this kingdom where all must pay homage to music...music..._

 _You have come here, for one purpose, and one alone._  
_Since the moment I first heard you sing, I have needed you with me,_  
_to serve me, to sing, for my music. My music._

(changing mood)

 _Night-time sharpens, heightens each sensation._  
_Darkness stirs and wakes imagination._  
_Silently the senses abandon their defenses…_

_Slowly, gently, night unfurls its splendour.  
Grasp it, sense it, tremulous and tender. _

(The Phantom, with the gentlest and slightest touch, turns her head toward him.)  
  
_Turn your face away from the garish light of day_  
_Turn your thoughts away from cold, unfeeling light_

_And listen to the music of the night._

_Close your eyes and surrender to your darkest dreams!_  
_Purge your thoughts of the life you knew before!_  
_Close your eyes, let your spirit start to soar…_  
_And you'll live as you've never lived before._

 _Softly, deftly, music shall caress you._  
_Feel it, hear it, secretly possess you._  
_Open up your mind, let your fantasies unwind,_  
_in this darkness which you know you cannot fight_  
_The darkness of the music of the night._

 _Let your mind start a journey through a strange new world!_  
_Leave all thoughts of the world you knew before!_  
_Let your soul take you where you long to be!_  
_Only then can you belong to me._

 _Floating, falling, sweet intoxication._  
_Touch me, trust me savour each sensation._  
_Let the dream begin, let your darker side give in_  
_to the power of the music that I write!_  
_The power of the music of the night._

(During all this, the PHANTOM has conditioned CHRISTINE to the coldness of his touch and her fingers are brave enough to stray to his mask and caress it, with no hint of removing it.

Christine follows the Phantom to a grandiose mirror, obscured by a dark black curtain. In one fluid movement, the Phantom tears the curtain away.

Standing in the frame of the mirror (the mirror has been shattered, and shards of shattered mirror creep out from the frame’s edges) is an effigy of Christine dressed in a wedding gown, a perfect wax-face impression. In the darkness, it creates the uncanny illusion of an actual mirror image.

The Phantom motions for Christine to approach it. In a daze, Christine reaches out to it. But before she can touch it, the mannequin of Christine loses balance and tumbles forward, its arms outstretched towards Christine. Christine faints – it’s all just too bizarre. As she falls to the ground, the Phantom catches her.)

 

PHANTOM _You alone can make my song take flight;  
help me make the music of the night._

* * *

**Scene 6 CHRISTINE’S DRESSING ROOM**

* * *

****(It’s dark. All the candles have been extinguished, and bouquets of flowers form vaguely threatening shadows in the eerie silence. MEG appears outside the door, glancing over her shoulder as she fiddles with MME GIRY’S KEYS, which she’s “borrowed”. She searches through the key ring until she finds the right one, and finally unlocks the dressing room door.

She moves into the room slowly, tiptoeing and jumping at shadows. She moves as if to look behind the mirror—but as her fingers brush against the glass it suddenly swings open, making her leap back. She looks around, and tentatively moves toward the revealed passage. She takes a step inside, then another…

MME GIRY appears seemingly out of nowhere, grabbing MEG by the wrist. MEG shrieks, whirling around, and freezes when she sees her mother. GIRY is not angry, however; she sighs without a word and shakes her head, releasing MEG and gesturing back toward the dressing room. MEG, badly shaken, obeys.)

 

**INT. OPERA HOUSE— BALLET DORMITORY**

 

(BUQUET leaps from the shadows with a dramatic cry, causing the BALLET GIRLS gathered around to shriek and titter. A length of fabric serves as his cloak, and a piece of rope tied into a noose. He is enjoying showing off.)

 

BUQUET _Like yellow parchment is his skin.  
A great black hole serves as the nose that never grew. _

 

(Demonstrating his method of self-defense against the lasso, he inserts his hand between his neck and the noose, and then pulls the rope taut. With a mixture of horror and delight, the BALLET GIRLS applaud this demonstration)

 

BUQUET (explaining to them) You must be always on your guard, or he will catch you with his magical lasso!

 

(He suddenly lunges and throws the length of rope around one of the girls, playfully tugging her in. She and the others shriek and scramble away; the laughter dies quickly as they realize GIRY has entered, observing. She sends MEG off to join the other girls, then turns on BUQUET.)

 

GIRY _Those who speak of what they know  
Find, too late, that prudent silence is wise.  
Joseph Buquet, hold your tongue!_  
_Keep your hand at the level of your eyes!_

* * *

**Scene 7— PHANTOM’S LAIR, THE NEXT MORNING**

* * *

****(As the light brightens, we see the PHANTOM seated at the organ furiously scratching out the notes of his composition with a feather quill. There is a musical box in the shape of a barrel organ beside the bed. Mysteriously, it plays as CHRISTINE wakes up. The music keeps her in a half trance)

 

CHRISTINE _I remember there was mist. swirling mist upon a vast, glassy lake._  
_There were candles all around and on the lake there was a boat._  
_And in the boat there was a man..._

 

(She rises and approaches the PHANTOM, who does not see her; unsure at first, but growing more and more confident, she reaches for the mask)

 

_Who was that shape in the shadows?  
Whose is the face in the mask? _

 

(She finally succeeds in lifting the mask from his face. The PHANTOM springs up and rounds on her furiously. She clearly sees his face. The audience does not, as he is standing in profile and in shadow)

 

PHANTOM _Damn you! You little prying Pandora!  
You little demon! _

 (She runs up against the wall, trying to escape him. She’s not fast enough; the Phantom grabs her arm and whips her around to face him.)

_Is this what you wanted to see?!_

_Curse you! You little lying Delilah!_  
_You little viper!_  
_Now you cannot ever be free!_

_Damn you. Curse you…!_

(a pause)

 _Stranger than you dreamt it? Can you even dare to look_  
_or bear to think of me: this loathsome gargoyle_  
_who burns in hell, but secretly yearns for heaven,_  
_Secretly. Secretly._

(Covering the disfigured side of his face with his hand, he slowly brings himself towards Christine.)

 _Christine..._  
_Fear can turn to love_  
_You'll learn to see, to find the man behind the monster._  
_This...repulsive carcass,_  
_who seems a beast, but secretly dreams of beauty,_  
_Secretly. Secretly._

_Oh, Christine..._

(He holds out his hand to the mask, which she gives to him. He puts it on. Confidence restored, he stands.)

 

PHANTOM Come, we must return. Those two fools who run my theatre will be missing you.

* * *

**Scene 8 THE MANAGERS' OFFICE**

* * *

****(Desk, chairs, papers. FIRMIN is scornfully eyeing a newspaper article)

 

FIRMIN _"Mystery after gala night," it says. "Mystery of soprano's flight!"  
_ “ _Mystified,” all the papers say. “We are mystified, we suspect foul play!"_

(He lowers the paper) 

 _Bad news on soprano scene._  
_First Carlotta, now Christine!_  
_Still, at least the seats get sold._  
_Gossip's worth its weight in gold..._

 _What a way to run a business!_  
_Spare me these unending trials!_  
_Half your cast disappears, but the crowd still cheers!_  
_Opera! To hell with Gluck and Handel—_  
_It's a scandal that'll pack 'em in the aisles!_

 

(ANDRE bursts in, in a temper)

 

ANDRE _Damnable! Will they all walk out?  
This is damnable! _

 

FIRMIN Andre, please don't shout.  
_It's publicity! And the take is vast! Free publicity!_

 

ANDRE _But we have no_ _cast!_

 

FIRMIN (calmly) _But Andre, have you seen the queue?_

 (He has been sorting mail on his desk. Finding the two letters from the PHANTOM):  
  
Oh, it seems you've got one too...

 

(He hands the letter to ANDRE, who opens it and reads):

 

ANDRE _"Dear Andre, what a charming gala!_  
_Christine enjoyed a great success!_  
_We were hardly bereft when Carlotta left. Otherwise,_  
_the chorus was entrancing, but the dancing was a lamentable mess!"_

FIRMIN (reading his) _"Dear Firmin, just a brief reminder:_  
_my salary has not been paid._  
_Send it care of the ghost, by return of post. P.T.O.:_  
_No one likes a debtor, so it's better if my orders are obeyed!"_

 

FIRMIN/ANDRE _Who would have the gall to send this? Someone with a puerile brain!_

 

FIRMIN (examining both letters) _These are both signed "O.G."._

 

ANDRE _Who the hell is he?_

 

BOTH _Opera ghost!_

 

FIRMIN (unamused) _It's nothing short of shocking!_

 

ANDRE _He is mocking our position!_

 

FIRMIN _In addition, he wants money!_

 

ANDRE _What a funny apparition._

 

BOTH _To expect a large retainer! Nothing plainer—he is clearly quite insane!_

 

(They are interrupted by the arrival of the VICOMTE, who brandishes another of the PHANTOM'S notes)

 

VICOMTE  _Wh_ _at is this_ _?_

 

ANDRE _You mean_ _the papers_ _?_

 

VICOMTE No, not the papers— _wh_ _at is this_ _?_

 

FIRMIN _Well, how should we know?_

 

VICOMTE  _I want an answer_ _—_ _I take it that you sent me this note?_

 

FIRMIN _What's all this nonsense?_

 

ANDRE _Of course not!_

 

FIRMIN _Don't look at us!_

 

VICOMTE  _It’s not from_ _you, then?_

 

FIRMIN _Of course not!_

 

ANDRE _We're in the dark._

 

VICOMTE  _Monsieur, don't argue_ _—_ _Isn't this the letter you wrote?_

 

FIRMIN _And what is it that we're meant to have wrote?_ (Realizing his mistake, with immense dignity) Written.

 

(VICOMTE hands the note to ANDRE, who reads it)

 

ANDRE "My dear Vicomte, my most gracious regards and congratulations on your patronage of this humble opera. Your generosity is most especially noted due to your clearly reduced circumstances, which render it impossible to provide even a meager salary for: your obedient servant, O. G."

 

(The MANAGERS look mystified)

 

VICOMTE If you didn't write it, who did?

 

(CARLOTTA bursts in, accompanied by PIANGI. She too has a letter, which pleases her no more than the others)

 

CARLOTTA _Where is he?!_

 

ANDRE (casually) Ah, welcome back.

 

CARLOTTA _Your precious patron_ _—_ _where is he?!_

 

VICOMTE What is it now?

 

CARLOTTA (to VICOMTE) _I have your letter—  
a letter which I rather resent!_

 

FIRMIN (to VICOMTE) And did you send it?

 

VICOMTE  _Of course not!_

 

ANDRE _As if he would!_

 

CARLOTTA _You didn't send it?_

 

VICOMTE  _Of course not!_

 

FIRMIN What's going on?

 

CARLOTTA (to VICOMTE) _You dare to tell me  
that this is not the letter you sent?! _

 

VICOMTE  _And what is it that I'm meant to have sent?_ (He takes the letter and reads it) "Your days at the Opera Populaire are numbered. Christine Daae will be singing on your behalf tonight. Be prepared for a great misfortune, should you attempt to take her place."

 

(The MANAGERS are beginning to tire of the intrigue, and sensing an impending explosion, attempt to head off CARLOTTA’s temper)

 

ANDRE/FIRMIN _Far too many notes for my taste_ _—_ _and most of them about Christine!  
All we've heard since we came is Miss Daae's name— _

 

(They walk straight into MME GIRY, accompanied by an anxious MEG)

 

GIRY _Miss Daae has returned._

 

FIRMIN (drily) _I trust her midnight oil is well and truly burned._

 

ANDRE _Where precisely is she now?_

 

GIRY _I thought it best she was alone._

 

MEG _She needed rest._

 

VICOMTE May we see her?

 

GIRY No, monsieur, she will see no-one.

 

CARLOTTA/PIANGI _Will she sing? Will she sing?_

 

GIRY (Holding up another of the PHANTOM’s messages) _Here, I have a note._

 

VICOMTE/CARLOTTA/ANDRE Let me see it!

 

FIRMIN (snatching it) Please! (Opens the letter and reads. The PHANTOM'S voice gradually lakes over) "Do not fear for Miss Daae. The Angel of Music has her under his wing. Such company as she has kept of late would do wisely to remember his guardianship. Gentlemen, I have now sent you several notes of the most amiable nature, detailing how my theatre is to be run. You have not followed my instructions. I shall give you one last chance..."

 

PHANTOM'S VOICE (taking over)  
_Christine Daae has returned to you,_  
_and I am anxious her career should progress_  
_in the new production of "Il Muto"._  
_You will therefore cast Carlotta as the Pageboy_  
_and put Miss Daae in the role of Countess._  
  
_The role which Miss Daae plays calls for charm and appeal._  
_The role of the Pageboy is silent—which makes my casting, in a word...ideal._

I shall watch the performance from my normal seat in Box Five, which will be kept empty for me. Should these commands be ignored, a disaster beyond your imagination will occur.”

 

FIRMIN (taking over) "I remain, Gentlemen, Your obedient servant, O.G."

 

(A beat)

 

CARLOTTA _Christine!_

 

ANDRE _Whatever next?_

 

CARLOTTA _It's all a ploy to help Christine!_

 

FIRMIN _This is insane._

 

CARLOTTA _I know who sent this:_ (pointing an accusing finger) _The Vicomte—her lover!_

 

VICOMTE (ironical) Indeed! We’ve never spoken!

 

ANDRE (to CARLOTTA, in protest) _Signora!_

 

CARLOTTA (half to the MANAGERS, half to herself) _O traditori!_

 

FIRMIN (to CARLOTTA) _This is a joke!_

 

ANDRE _This changes nothing!_

 

CARLOTTA _O mentitori!_

 

FIRMIN _Signora!_

 

(CARLOTTA moves around the upper floor of the foyer, throwing herself into hysterics as only a diva truly can. The rest chase after her, each one reacting to the recent events in his or her own way.)

 

ANDRE _You are our star!_

 

FIRMIN _And always will be!_

 

ANDRE _Signora._

 

FIRMIN _The man is mad!_

 

ANDRE _We don't take orders!_

 

FIRMIN (announcing it to EVERYONE) Miss Daae will be playing the Pageboy! The silent role.

 

ANDRE/FIRMIN _Carlotta will be playing the lead!_

 

PIANGI _You don’t deserve her!_

 

CARLOTTA (having none of it, waxing melodramatic) _It's useless trying to appease me!_

 

FIRMIN _Appease her!_

 

CARLOTTA _You're only saying this to please me!_

 

FIRMIN _Please her!_

 _  
_ CARLOTTA/PIANGI  _Signori, Š vero? Non, non, non voglio udire!_  
_Lasciatemi morire! O padre mio! Dio!_

 

GIRY _Who scorn his word, beware to those._

 

CARLOTTA (to MANAGERS) _You have reviled me!_

 

GIRY _The angel sees, the angel knows._

 

CARLOTTA _You have rebuked me!_

 

ANDRE/FIRMIN _Signora, pardon us._

 

CARLOTTA _You have replaced me!_

 

ANDRE/FIRMIN _Please, Signora, we beseech you_.

 

GIRY _This hour shall see your darkest fears._

 

MEG _I must see her._

 

CARLOTTA _Abbandonata! Deseredata! O, sventurata!_

 

GIRY _The angel knows, the angel hears._

 

MEG _Where did she go?_

 

CARLOTTA _Abbandonata! Disgraziata!_

 

ANDRE/FIRMIN _Signora, sing for us! Don't be a martyr!_

 

GIRY/MEG _What new surprises lie in store?_

 

ANDRE/FIRMIN _Our star!_

 

CARLOTTA _Non vo' cantar!_

 

(In the height of the all the tumult, CARLOTTA suddenly collapses into despair, throwing herself into PIANGI’s arms. ALL look at CARLOTTA, as the MANAGERS approach her lovingly)

 

ANDRE Your public needs you!

 

FIRMIN We need you, too!

 

CARLOTTA (acidly) Would you not rather have your precious little ingenue?

 

ANDRE/FIRMIN Signora, no! The world wants you!

 

(The MANAGERS adopt their most persuasive attitudes)

 

ANDRE/FIRMIN _Prima donna! First lady of the stage!  
Your devotees are on their knees to implore you! _

 

ANDRE _Can you bow out when they're shouting your name?_

 

FIRMIN _Think of how they all adore you!_

 

BOTH _Prima donna, enchant us once again!_

 

ANDRE _Think of your muse._

 

FIRMIN _And of the queues round the theatre!_

 

BOTH _Can you deny us the triumph in store? Sing, prima donna, once more!_

 

(CARLOTTA registers her acceptance as the MANAGERS continue to cajole and the OTHERS reflect variously on the situation)

 

MEG _Christine spoke of an angel_...

 

CARLOTTA (to herself, in triumph) _Prima donna your song shall live again!_

 

ANDRE/FIRMIN/PIANGI (to CARLOTTA) _Think of your public!_

 

CARLOTTA _You took a snub but there's a public who needs you!_

 

GIRY (referring to CHRISTINE) _She has heard the voice of the angel of music._

 

ANDRE/ FIRMIN (to CARLOTTA) _Those who hear your voice liken you to an angel!_

 

CARLOTTA _Think of their cry of undying support!_

 

(As the stage for “Il Muto” is being assembled, Andre and Firmin congratulate themselves on how everything seems to be working out:)

 

ANDRE (to FIRMlN) _We get our opera._

 

FIRMIN (to ANDRE) _She gets her limelight!_

 

CARLOTTA _Follow where the limelight leads you!_

 

MEG _Is this ghost an angel or a madman?_

 

ANDRE/FIRMIN (aside) _Leading ladies are a trial!_

 

GIRY _Heaven help you, those who doubt._

 

CARLOTTA _You'll sing again, and to unending ovation!_

 

PIANGI _When she sings, we see heaven!_

 

VICOMTE  _Orders! Warnings! Lunatic demands!_

 

GIRY _This miscasting will invite damnation._

 

ANDRE/FIRMIN _Tears. oaths. Lunatic demands are regular occurrences!_

 

MEG _Bliss or damnation? Which has claimed her.?_

 

CARLOTTA _Think how you'll shine in that final encore! Sing, prima donna, once more!_

 

GIRY _Oh fools, to have flouted his warnings!_

 

PIANGI _Surely heads will roll_

 

MEG _Surely he'll strike back..._

 

ANDRE/FIRMIN _Surely there'll be further scenes—worse than this!_

 

GIRY _Think, before these demands are rejected!_

 

VICOMTE  _I must see these demands are rejected!_

 

PIANGI _...if her threats and demands are rejected!_

 

MEG ... _if his threats and demands are rejected!_

 

ANDRE/FIRMIN _Who'd believe a diva happy to relieve_  
_a chorus girl, who's gone and slept with the patron?_  
_A Vicomte and soubrette, entwined in love's duet!_  
_Although he may demur, he must have been with her!_

MEG _Christine must be protected!_

 

CARLOTTA _O, fortunata! Non ancor abbandonata!_

 

ANDRE/FIRMIN _You'd never get away with all this in a play_  
_but if it's loudly sung and in a foreign tongue_  
_it's just the sort of story audiences adore,_  
_in fact a perfect opera!_

 

VICOMTE  _His game is over!_

 

GIRY _This is a game you cannot hope to win!_

 

VICOMTE  _And in Box Five a new game will begin._

 

GIRY _For, if his curse is on this opera..._

 

MEG _But if his curse is on this opera..._

 

ANDRE/FIRMIN _Prima donna the world is at your feet!  
A nation waits, and how it hates to be cheated! _

 

CARLOTTA/PIANGI _The stress that falls upon a famous prima donna!_  
_Terrible diseases, coughs and colds and sneezes!_  
_Still, the dryest throat will reach the highest note,_  
_in search of perfect opera!_

 

MEG/GIRY ... _then I fear the outcome..._

 

GIRY _...should you dare to..._

 

MEG _...when you once again..._

 

ALL _Light up the stage with that age old rapport! Sing, prima donna, once more!_

* * *

**Scene 9— INT. OPERA POPULAIRE – AUDITORIUM**

* * *

****A PERFORMANCE OF 'IL MUTO' BY ALBRIZZIO (During the overture VICOMTE, ANDRE and FIRMIN take their respective seats-VICOMTE in Box Five, the MANAGERS in a box opposite)

 

FIRMIN Monsieur, if you would care to take your seat?

 

VICOMTE I shall be sitting in Box Five.

 

ANDRE Do you really think that's wise, monsieur?

 

VICOMTE My dear Andre, there would appear to be no seats available other than Box Five.

 

(The front cloth rises to reveal an 18th Century salon, a canopied bed centre-stage. The COUNTESS is played by CARLOTTA. SERAFIMO, the page boy, is disguised as her maid and is played by CHRISTINE. At this point they are hidden behind the drapes of the bed, which are drawn.

 

In the room are TWO EPICENE MEN: one a HAIRDRESSER and one a JEWELLER. The JEWELLER is attended by MEG. There is also an OLDER WOMAN, the COUNTESS' confidante. All apart from MEG are gossiping with relish about the COUNTESS' current liaison with SERAFIMO)

 

CONFIDANTE _They say that this youth has set my Lady's heart aflame!_

 

1ST FOP _His Lordship sure would die of shock!_

 

2ND FOP _His Lordship is a laughingstock!_

 

CONFIDANTE _Should he suspect her, God protect her!_

 

ALL THREE _Shame! Shame! Shame!_

_This faithless lady's bound for Hades!  
Shame! Shame! Shame! _

 

(The canopy drapes part and we see the COUNTESS kissing SERAFlMO passionately. As the recitative begins, the lights and music dim on stage, and our attention turns to the MANAGERS in their box)

 

**IN THE BOX**

 

ANDRE Nothing like the old operas!

 

FIRMIN Or the old scenery.

 

ANDRE The old singers.

 

FIRMIN The old audience.

 

ANDRE And every seat sold!

 

FIRMIN Hardly a disaster beyond all imagination!

 

(They chuckle and nod to the VICOMTE in the opposite box. He acknowledges them)

 

**ON STAGE**

 

COUNTESS Serafimo—your disguise is perfect.

 

(A knock at the door)

 

_Who can this be?_

 

DON ATTILIO _Gentle wife, admit your loving husband._

 

(The COUNTESS admits DON ATTILIO. He is an old fool)

 

DON ATTILIO _My love—I am called to England on affairs of State,_  
_and must leave you with your new maid!_  
(Aside) Though I'd happily take the maid with me.

 

COUNTESS (aside) The old fool's leaving!

 

DON ATTILIO (aside) _I suspect my young bride is untrue to me. I shall not leave, but shall hide over there to observe her!_

 

DON ATTILIO (to COUNTESS) _Addio!_

 

COUNTESS _Addio!_

 

BOTH (to each other) _Addio!_

 

(He goes, pretending to leave, then hides and watches the action)

 

COUNTESS (CARLOTTA) _Serafimo_ _—_ _away with this_ _pretense_ _!_

(She rips off SERAFIMO'S skirt to reveal his manly breeches)

_You cannot speak, but kiss me in my husband's absence!_

_Poor fool, he makes me laugh! Haha, Haha! (etc.)  
Time I tried to get a better better half!_

 

COUNTESS AND CHORUS _Poor fool, he doesn't know! Hoho, Hoho! (etc.)  
If he knew the truth, he'd never, ever go! _

 

(Suddenly from nowhere, we hear the voice of the PHANTOM)

 

PHANTOM'S VOICE Did I not instruct that Box Five was to be kept empty?

 

MEG (terrified) _He's here: the Phantom of the Opera_.

 

(General reaction of bewilderment. CHRISTINE looks fearfully about her)

 

CHRISTINE It's him. I know it. it's him.

 

CARLOTTA (Finding a scapegoat in CHRISTINE, hisses at her) Your part is silent, little toad!

 

(But the PHANTOM has heard her)

 

PHANTOM'S VOICE A toad, madame? Perhaps it is you who are the toad.

 

(Again general unease. CARLOTTA and the CONDUCTOR confer and pick up from the opening of the scene)

 

CARLOTTA (As the COUNTESS) _Serafimo, away with this pretence!  
You cannot speak, but kiss me in my_ **croak!**

 

(Instead of singing she emits a great croak like a toad. A stunned silence. CARLOTTA is as amazed as anyone but regains herself and continues. More perturbing, however, is a new sound: the PHANTOM is laughing—quietly at first, then more and more hysterically)

 

CARLOTTA (as the COUNTESS) _Poor fool, he makes me laugh—Hahahahaha!_ Croak, croak, croak, croak, croak, croak, etc.

 

(CARLOTTA looks tearfully up at the MANAGERS ' box and shakes her head)

 

CARLOTTA Non posso pi—. I cannot. I cannot go on.

 

PIANGI (rushing on) Cara, cara. I'm here. is all right. Come. I'm here.

 

(ANDRE and FIRMIN hurry out of the box onto the stage. PIANGI ushers the now sobbing CARLOTTA offstage, while the MANAGERS tackle the audience)

 

FIRMIN Ladies and gentlemen, we apologize. The performance will continue in ten minutes' time, when the role of the Countess will be sung by Miss Christine Daae.

 

ANDRE (improvising) In the meantime, ladies and gentlemen, we shall be giving you the ballet from Act…(He forgets precisely where he’s going with it. He nervously flips through his program, trying to find the right section. He finally finds it) ...Three of tonight's opera. (to REYER, who looks like he’s about to have a heart attack as he flips through his score) Maestro—the—the ballet—now!

 

(The MANAGERS leave, the stage is cleared and music starts again. Andre disappears behind the curtain, which opens a few moments later. The set is only half-changed and cast and crew are rushing about; in short, it is chaos. As a sylvan glade flies in, the ballet girls attempt to begin the “Dance of the Country Nymphs.”

 

In the flies, a series of threatening shadows of the PHANTOM. MEG is aware of the shadow, and in her nervousness she dances out of step, attempting to sneak a look above her. Finally, in a crescendo in the music, The BODY OF JOSEPH BUQUET plummets down from above. He swings, grotesquely suspended.

 

Pandemonium breaks out. The audience and chorus shriek and scramble away, stagehands scatter. The BALLET GIRLS scream and flood around GIRY like frightened ducklings, clinging as she scans the flies and tries to calm them.)

 

(Christine rushes through the chaos. MEG, coming from the opposite direction, looks for her)

 

MEG (calling out) Christine! Christine! (She sees her.)

 

CHRISTINE Meg!

 

(Christine lunges and grabs MEG by the wrist)

 

MEG (to CHRISTINE, gesturing toward her mother and the girls) Christine, come with us.

 

CHRISTINE No. We’re not safe here!

 

(CHRISTINE runs off, dragging MEG in her wake)

 

FIRMIN (Attempting to placate the audience as STAGE-HANDS and POLICEMEN crowd onto the stage) Ladies and gentlemen, please remain in your seats. Do not panic. It was an accident...simply an accident!

* * *

**Scene 10 BACKSTAGE/THE ROOF OF THE OPERA HOUSE**

* * *

****(CHRISTINE and MEG rush through the opera house and up stairs)

 

MEG _Why have you brought us here?_

 

CHRISTINE _Don't take me back there!_

 

MEG _We must return!_

 

CHRISTINE _He'll kill_ _me_ _!  
His eyes will find us there! _

 

MEG _Christine, don't say that—_

 

CHRISTINE _Those eyes that burn!_

 

MEG _Don't even think it._

 

CHRlSTlNE _And if he has to kill a thousand men—_

 

MEG _This is a waking nightmare!_

 

CHRISTINE _The Phantom of the Opera will kill—_

 

MEG _You’re not the Phantom’s target—I’m certain!_

 

CHRISTINE _—and kill again!_

 

MEG _But you’ve done nothing to offend him!_

 

CHRISTINE _My God, who is this man?_

 

MEG _My God, who is this man?_

 

CHRISTINE _...who hunts to kill?_

 

MEG _...this mask of death?_

 

CHRISTINE _I can't escape from him._

 

MEG _Whose is this voice you hear..._

 

CHRISTINE _I never will!_

 

MEG ... _with every breath?_

 

BOTH _And in this labyrinth, where night is blind  
the Phantom of the Opera is here: inside your/my mind! _

 

(They finally burst out onto…)

 

**ROOF OF THE OPERA HOUSE**

 

(It is twilight. A panorama of stars, roofs, streetlamps and spires is visible in the distance. As the door opens light spills out from the stairwell. CHRISTINE rushes onto the roof in blind, incoherent terror; MEG, alarmed and worried, hesitates in the center of the roof as CHRISTINE flees almost to the other side.)

 

MEG: _Are you this frightened of the Phantom…?_

 

(CHRISTINE turns, eyes wide, breathing fast and terrified as she finally confesses her secret)

 

CHRISTINE _Meg, I've been there, to his world of unending night.  
To a world where the daylight dissolves into darkness. __D_ _arkness..._

 

 _Meg, I've seen him!  
_ (MEG visibly reacts, reaching out)   
_Can I ever forget that sight?_  
_Can I ever escape from that face? So distorted, deformed, it was hardly a face,_  
_in that darkness. Darkness..._  

(becoming more and more trancelike)

 _But his voice filled my spirit with a strange, sweet sound._  
_In that night there was music in my mind._  
_And through music my soul began to soar!_  
_And I heard as I'd never heard before..._

 

MEG _You don’t have to be frightened anymore..._

 

CHRISTINE _Yet in his eyes all the sadness of the world.  
Those pleading eyes, that both threatened and adored._

 

MEG (comforting, taking CHRISTINE’s hands between her own) _Christine. Christine..._

 

PHANTOM (unseen, a ghostly echo of MEG's words) _Christine._

 

CHRISTINE What was that?

 

MEG Oh, Christine...

 

(A moment, as their eyes meet. The mood changes. MEG reaches up to tuck CHRISTINE’s hair behind one ear. CHRISTINE’s eyes close as her jerky, panicked breathing starts to calm. She dips her head to rest her forehead against MEG’s. MEG holds her, still and gentle, until CHRISTINE looks up. Neither of them move away.)

 

MEG (soft) _No more talk of darkness._  
_Forget these wide-eyed fears._  
_I'm here, nothing can harm you._  
_My words will warm and calm you._

(She steps back, gently pulling CHRISTINE along with her so that she turns away from the opera house and into the cool night air.)

 _Let me be your freedom._  
_Let daylight dry your tears._  
_I'm here, with you, beside you,_  
_to guard you and to guide you..._

(The slightest pause. Then, almost hesitant at first: )

  
CHRISTINE _Say you’ll love me every waking moment  
turn my head with talk of summertime. _

_Say you need me with you, now and always.  
Promise me that all you say is true._

_T_ _hat's all I ask of you._

  
(MEG smiles, drawing CHRISTINE closer.)

  
MEG _Let me be your shelter,  
let me be your light.  
You're safe; __no_ _one will find you,  
__your fears are far behind you..._

  
(CHRISTINE glances fearfully over her shoulder, tightening her grip on Meg’s hands.)

  
CHRISTINE _All I want is freedom,  
a world with no more night…  
_ (She turns back to MEG and smiles)  
_...And you, always beside me_  
_to hold me and to hide me..._

  
MEG (In a rush of impulsive courage)  
_Then say you'll share with me one love, one lifetime._  
_Let me lead you from your solitude._

 _Say you need me with you here, beside you.  
_ _Anywhere you go, let me go too._

(MEG is terrified, gripping CHRISTINE’s arms; but it’s been said, and she gazes into her face waiting for an answer.)  
  
_Christine, that's all I ask of you._

 

(CHRISTINE softens, placing a hand on MEG’s cheek.)

 

CHRISTINE _Say you'll share with me one love, one lifetime.  
Say the word and I will follow you. _

 

BOTH _Share each day with me, each night, each morning._

 

CHRISTINE _Say you love me—_

 

MEG _You know I do..._

 

(A pause. Slow smiles. An understanding and an affirmation, at last.)

 

BOTH _Love me—that's all I ask of you._

(They drift closer together as if unable to look away from one another, and the line breaks off as they kiss. It’s tender and pure and so long in the coming, and MEG backs away after a moment, stunned. CHRISTINE, gently so as not to pressure her, winds fingers through MEG’s hair and guides her back in. This too is chaste at first, but quickly builds in passion until they break away, flushed and ecstatic.)

_Anywhere you go let me go too!  
Love me—that's all I ask of you. _

 

(A clock chimes in the distance, causing CHRISTINE to start from her reverie)

 

CHRISTINE _I must go_ _—_ _they'll wonder where I am. Come with me, Meg!_

 

MEG _Christine, I love you._

 

CHRISTINE _Go and find your mother;_ _she’s worried sick, I’m sure_ _..._

 

MEG _And soon you'll be beside me!_

 

CHRISTINE _You'll guard me, and you'll guide me..._

 

(They hurry off, fingers entwined, wrapped up in one another and blind with happiness. The PHANTOM emerges from behind the statue and watches the rooftop exit close behind them. His voice is bitter and pained.)

 

PHANTOM _I gave you my music. Made your song take wing..._  
_And now, how you've repaid me: denied me and betrayed me._  
_She was bound to love you when she heard you sing—!_

_Christine..._

 

MEG/CHRISTINE (offstage)  
_Say you'll share with me one love, one lifetime.  
Say the word and I will follow you. _

_Share each day with me, each night, each morning..._

 

(The Phantom’s face contorts in anger as he cries out to the dark sky, dangling treacherously from the statues)

 

PHANTOM _You will curse the day you did not do  
all that the Phantom asked of you! _

**Notes for the Chapter:**

> I promise I did not forget the chandelier drop. It'll come.


	2. Act II

**Scene 1 THE STAIRCASE OF THE OPERA HOUSE**

* * *

****(The guests (whom we cannot yet see clearly) are in fancy dress; a peacock, a lion, a dragon, Mephistopheles, a highwayman, a clown, knights, ladies, an executioner. The foyer was stunning before, but now it is a wild, extravagant, and surreal visual feast. At the entrance, Firmin and Andre, ridiculously costumed, greet the guests as they enter. They each take champagne from a tray, raise their masks and LAUGH)

 

FIRMIN M'sieur Andre?

 

ANDRE M'sieur Firmin!

 

(Each raises his mask to the other. They recognize each other.)

 

FIRMIN _Dear Andre, what a splendid party!_

 

ANDRE _The prologue to a bright new year!_

 

FIRMIN _Quite a night! I'm impressed!_

 

ANDRE _Well, one does one's best._

 

ANDRE/FIRMIN (raising their glasses) _Here's to us!_

 

FIRMIN _The toast of all the city;  
What a pity that the Phantom can’t be here! _

 

(The gauze lifts fully to reveal the staircase of the opera house. A large crowd of ONLOOKERS watches as magnificently COSTUMED GUESTS pass by and make their way up to the main entrance. The stairs are lined with ORNAMENTED GUARDSMEN. At the entrance, Firmin and Andre greet the guests as they enter.

 

The GUESTS revel in their own magnificence, indulging in the debauchery that their anonymity allows them. The guests travel up and down the staircase in a dizzying spectacle)

 

CHORUS _Masquerade! Paper faces on parade.  
Masquerade! Hide your face, so the world will never find you! _

_Masquerade! Every face a different shade.  
Masquerade! Look around—there's another mask behind you! _

_Flash of mauve. Splash of puce._  
_Fool and king. Ghoul and goose._  
_Green and black. Queen and priest._  
_Trace of rouge. Face of beast._

 _Faces!_  
_Take your turn, take a ride_  
_on the merry-go-round_  
_in an inhuman race!_

 _Eye of gold. Thigh of blue._  
_True is false. Who is who?_  
_Curl of lip. Swirl of gown._  
_Ace of hearts. Face of clown._

 _Faces!_  
_Drink it in, drink it up,_  
_till you've drowned in the light, in the sound.  
_ _But who can name the face?_

 

(The auditorium has been transformed into a giant dance floor, with all the seats removed. Some of the wealthier guests watch the madness from the boxes above.)

 

_Masquerade! Grinning yellows, spinning reds.  
Masquerade! Take your fill—let the spectacle astound you! _

_Masquerade! Burning glances, turning heads.  
Masquerade! Stop and stare at the sea of smiles around you! _

_Masquerade! Seething shadows breathing lies.  
Masquerade! You can fool any friend who ever knew you! _

_Masquerade! Leering satyrs, peering eyes.  
Masquerade! Run and hide—but a face will still pursue you! _

 

(The ENSEMBLE activity becomes background, as ANDRE, FIRMIN, CHRISTINE, MEG, GIRY, PIANGI and CARLOTTA come to the fore, glasses in hand.)

 

GIRY _What a night._

 

MEG _What a crowd!_

 

ANDRE _Makes you glad!_

 

FIRMIN _Makes you proud! All the creme de la creme!_

 

CARLOTTA _Watching us watching them!_

 

MEG/CHRISTINE  _And all our fears are in the past!_

 

ANDRE _Six months._

 

PIANGI _Of relief!_

 

CARLOTTA _Of delight!_

 

ANDRE/FIRMIN _Of Elysian peace!_

 

MEG/CHRISTINE  _And we can breathe at last!_

 

CARLOTTA _No more notes!_

 

PIANGI _No more ghost!_

 

GIRY _Here's a health!_

 

ANDRE _Here's a toast: to a prosperous year!_

 

FIRMIN _To the new chandelier!_

 

PIANGI/CARLOTTA _And may its splendour never fade!_

 

FIRMIN _Six months!_

 

ANDRE _What a joy!_

 

MEG _What a change!_

 

FIRMIN/ANDRE _What a blessed release!_

 

GIRY And what a masquerade...

 

(They clink glasses and move off. MEG and CHRISTINE, ducking off to the side of the upper foyer, share an intimate moment. Christine is admiring a worn, simple ring that hangs on a silver chain around her neck. She pushes her swan mask up onto her forehead, exposing her face.)

 

CHRISTINE _Think of it; a secret engagement. Look_ _—_ _your future bride! Just think of it._

 

MEG _I only wish we didn’t have to hide..._

 

(She goes on tiptoe to kiss Christine’s cheek; Christine pulls back)

 

MEG: What’s wrong, Christine…?

 

CHRISTINE: _No, Meg, please don’t, they’ll see—_

 

MEG (overlapping, bewildered and concerned) What’s there to see?  
_I’ve kissed your cheek a thousand times…_  
_Christine, what are you afraid of?_

CHRISTINE _Let's not argue._

 

MEG _No, of course._ _I understand._

 

BOTH _I can only hope this fear will pass in time._

 

(They are swept up into the midst of a large, intense dance on the foyer floor. CHRISTINE is furiously whirled from partner to partner, each one increasingly more reminiscent of the Phantom. Terrified and disoriented, she spins in the sea of masks, searching for someone in the crowd... Suddenly, MEG reaches out from the whirling throng and grabs her. CHRISTINE’s fear washes away and a smile returns to her face. MEG pulls her back into the dance as the music rolls on into the climax)

 

ALL _Masquerade! Paper faces on parade!  
Masquerade! Hide your face, so the world will never find you! _

_Masquerade! Every face a different shade!  
Masquerade! Look around—There's another mask behind you! _

_Masquerade! Burning glances, turning heads.  
Masquerade! Stop and stare at the sea of smiles around you! _

_Masquerade! Grinning yellows, spinning reds.  
Masquerade! Take your fill let the spectacle...astound...you..._

 

(At the height of the activity a grotesque figure suddenly appears at the top of the staircase and the chorus trails off into gasps and the occasional scream. Dressed all in crimson, with a death's head visible inside the hood of his robe, the PHANTOM has come to the party. With dreadful wooden steps he descends the stairs and takes the centre of the stage)

 

PHANTOM _Why so silent, good messieurs?_  
_Did you think that I had left you for good?_  
_Have you missed me, good messieurs?_  
_I have written you an opera!_

(He takes from under his robe an enormous bound manuscript)

_Here I bring the finished score: "Don Juan Triumphant"!_

 

(He throws it to the floor, where the score scatters dramatically along the steps.)

In the background, MEG moves to pull a frightened CHRISTINE closer; GIRY’S arm flashes out and holds her still in a bruising grip, stopping Meg from drawing attention to herself.)

 

PHANTOM _Fondest greetings to you all.  
A few instructions just before rehearsal starts._

(He casually draws the saber at his hip and mockingly threatens the subjects of his criticism one by one as he addresses them)

 _Carlotta must be taught to act,  
__not her normal trick of strutting round the stage._  
_Our Don Juan must lose some weight;_  
_it's not healthy in a man of Piangi's age._

(His gaze falls on MEG, still restrained behind her mother’s arm)

 _You should have left the child home.  
There are _ _dangers,_ _when you so expose your heart..._

(He rounds on the MANAGERS)

_And my managers must learn  
that their place is in an office, not the arts! _

(As he turns to face Christine, the saber is sheathed.)

As for Miss Christine Daae...

 _No doubt she'll do her best! It's true her voice is good._  
_She knows, though, should she wish to excel_  
_she has much still to learn,_  
_if pride will let her return to me._  
_Her teacher, her teacher..._

 

(CHRISTlNE, mesmerized, approaches as the PHANTOM beckons her. He reaches out, grasps the chain that holds the secret engagement ring, and rips it from her throat)

 

PHANTOM _Your chains are still mine—you belong to me!_

 

(ALL cower in suspense as the music crescendos, until suddenly, his figure evaporates)

* * *

**Scene 2 BACKSTAGE**

* * *

****(GIRY is hurrying across. MEG appears, causing her to jump; she calms quickly, setting her candle aside, but pauses as it becomes obvious that Meg is far from her usual self)

 

GIRY Is something wrong, Meg?

 

MEG (Her arms are folded across her stomach, but her voice, while quiet, is steady) Who is he?

 

(The reaction is immediate; GIRY stiffens and shakes her head sharply, turning to leave; MEG hurries up to her, gently gripping her arm.)

 

GIRY My dear, don't ask me—I know no more than anyone else.

 

MEG That's not true!

 

GIRY Meg, don’t ask. There have been too many accidents. You already know too much.

 

MEG Accidents?! Please, Maman. For all our sakes.

 

GIRY (glancing around nervously) Very well. (She lets Meg into her dressing room and locks the door) It was years ago. There was a traveling fair in the city. Tumblers, conjurers, human oddities. I was younger than you are now. Studying to be a ballerina, living in the dormitories of the opera house—one of many.

 

MEG (sitting down nearby and holding her mother’s hand) What happened?

 

(Behind her, as she recites the tale, we see APPARITIONS of the things she describes.)

 

GIRY There was—I shall never forget him—a boy. Locked in a cage.

 

MEG In a cage…?

 

GIRY More monster than man, they called him. The devil’s child.

 

MEG That’s so cruel.

 

GIRY: Deformed from birth, it seemed. His...owner, the man who beat him, was killed, strangled with the rope used to tie him. So the police reported. It was said no one ever saw the boy again. (starts from her daze and moves to stand) I have said too much and you should be in bed— (seeing Meg’s face, she sighs) Yes, I saw him run. I hid him. From the world, and its cruelties. He has known nothing else of life since then, except this opera house. For some years I knew him, and then never again. But he was a genius, Meg. A scholar, an architect, a magician...

 

MEG A composer?

 

GIRY: And an inventor. And so afraid, Meg, and what else could I have done? No one could have known... He was only a little boy.

* * *

**Scene 3 – BALLET DORMITORIES, NIGHT**

* * *

****(Unable to truly share a bed, MEG and CHRISTINE have settled for setting up their beds beside one another in a secluded corner. A vase of lilacs is set up on CHRISTINE’s nightstand. Everything is dark and quiet. MEG is asleep, with her back to the dormitory. CHRISTINE, however, tosses and turns for several moments before sitting up; she can’t sleep. She slips out of bed, pausing for a few moments to watch MEG sleep. Then, taking up a HOODED CLOAK from the back of a CHAIR, CHRISTINE slips downstairs)

 

**EXT. PARIS STREETS**

 

(Christine, dressed in a heavy hood, steps out of a rear door of the opera house and approaches a stablemaster, handing him a few coins. She gets inside.)

 

STABLEMASTER: Où allez-vous, mademoiselle?

 

CHRISTINE: To my father’s grave, please.

 

**INT. BALLET DORMITORIES**

 

(The clatter of hooves and carriage wheels makes MEG stir faintly. She sits up and rubs her eyes, and does a double-take as she looks over at the next bed to find it empty, with the covers thrown back. She frowns and stands, crossing to the door to peek out. As she does so she rests her hand on the back of the chair where Christine’s traveling cloak was hanging moments ago.

She freezes, looking between the chair back and the window to the street. MEG starts for the door, then turns back. She crosses back into the dormitory and grabs a FIREPLACE POKER, then runs out the door.)

 

**EXT. PARIS STREETS**

 

(CHRISTINE’s carriage rattles through the city as she looks out over the gloomy surroundings, singing absently to herself.)

 

CHRISTINE: _In sleep he sang to me, in dreams he came...  
That voice which calls to me and speaks my name..._

 

(And as the music swells, the carriage reaches…)

 

**A GRAVEYARD**

 

(A BELL TOLLS in the distance. Christine gets out of the carriage, opens the gate and begins to walk among the tombs.)

 

CHRISTINE _You were once my one companion._  
_You were all that mattered._  
_You were once a friend and father—_  
_then my world was shattered._

 _Wishing you were somehow here again._  
_Wishing you were somehow near._  
_Sometimes it seemed if I just dreamed,_  
_Somehow you would be here._

 _Wishing I could hear your voice again._  
_Knowing that I never would._  
_Dreaming of you won't help me to do_  
_all that you dreamed I could._

_Passing bells and sculpted angels, cold and monumental,  
seem, for you, the wrong companions—you were warm and gentle. _

_Too many years fighting back tears. Why can't the past just die?_

_Wishing you were somehow here again._  
_Knowing we must say goodbye._  
_Try to forgive. Teach me to live.  
__Give me the strength to try!_

 _No more memories! No more silent tears._  
_No more gazing across the wasted years._  
_Help me say goodbye..._

(Suddenly, the STRAINS OF A GHOSTLY VIOLIN are heard throughout the cemetery. Christine looks up, bewildered.)

 

PHANTOM (very soft and enticing)  
_Wandering child, so lost, so helpless.  
__Yearning for my guidance._

 

(Bewildered, CHRISTINE looks up, and murmurs breathlessly):

 

CHRISTINE _Angel, or father...friend, or Phantom?  
Who is it there, staring.? _

 

PHANTOM (more and more hypnotic) _Have you forgotten your Angel?_

 

CHRISTINE _Angel, oh, speak. What endless longings  
echo in this whisper!_

 

(MEG appears in the shadows, slipping off the back of one of the opera house’s sleepy ponies. She hesitates on the verge of revealing herself, peering into the gloom.)

 

PHANTOM (now drawing CHRISTINE towards him) _Too long you've wandered in winter..._

 

MEG (to herself, in a heartbroken murmur, as the PHANTOM begins the familiar melody that once belonged to her) _Once again she is his..._

 

PHANTOM _Far from my far-reaching gaze..._

 

MEG: _Once again she returns..._

 

CHRISTINE (increasingly mesmerized) _Wildly my mind beats against you..._

 

PHANTOM _You resist..._

 

PHANTOM/CHRISTINE _Yet your/the soul obeys!_

 

MEG: _...to the arms of her angel!_  
_Angel or demon, still he calls her._  
_Luring her back from the grave._  
_Angel or dark seducer?_  
_Who are you, strange angel?_

 

PHANTOM _Angel of Music! You denied me,_  
_turning from true beauty._  
_Angel of Music! Do not shun me._  
_Come to your strange Angel._

 

CHRISTINE _Angel of Music! I denied you,_  
_turning from true beauty._  
_Angel of Music! My protector._  
_Come to me, strange Angel._

 

(CHRISTINE moves towards the figure of the PHANTOM)

 

PHANTOM (beckoning her) _I am your Angel of Music. Come to me, Angel of Music._

 

(MEG snaps free from her despairing reverie as she makes out the figure of the PHANTOM at last and realizes the danger her lover is in)

 

MEG Christine!

 

(Inexorably the PHANTOM continues to beckon CHRISTINE)

 

PHANTOM _I am your Angel of Music. Come to me, Angel of Music..._

 

MEG (in desperation) Christine! Christine, listen to me! Your father loved you! Whatever you may believe, your father would not hurt you this way! Let her go—Christine, please, look at me! Just look at me!

 

(Coming out of her trance CHRISTINE turns and mouths)

 

CHRISTINE Meg…?

 

(With monumental effort she takes a single step back from the looming presence of the Phantom; then another. MEG hurries forward and holds out her hand; Christine stumbles toward her and takes it, all but falling into Meg’s arms. Meg embraces her protectively.)

 

(MEG almost doesn’t notice the danger in time. Having disappeared when CHRISTINE turned away from him, the PHANTOM now reappears in a fury, drawing a rapier from under a cloak and flying at MEG. Barely in time, MEG shoves CHRISTINE free and swings her fireplace poker in a wild block. It saves her life, but the PHANTOM recovers first and lunges, forcing her to dodge. They exchange a few more blows, but MEG is hopelessly outmatched and the PHANTOM slashes deep into her “sword” arm, making her drop the poker and backpedal. MEG trips, scrambling backward, and the PHANTOM sweeps his sword up for the kill.

 

CHRISTINE No!

 

(She lunges forward, leaping in front of the fallen MEG; the PHANTOM, sword raised, freezes. The moment hangs between them.)

 

CHRISTINE Please. Not her.

 

(The PHANTOM stares at her in rage; it seems as if he is going to shove her out of the way and finish it; but finally, in a sharp movement, he sheathes the sword.)

 

PHANTOM (words bitten off through his teeth) An old debt. That account is now settled. Cross my path again and you will find you have outlived my indulgence.

 

(He turns away)

 

PHANTOM (to CHRISTINE) Come.

 

(She hesitates)

 

PHANTOM (deadly soft) Come.

 

(Christine hangs between them for a moment, then breaks; she runs to MEG’s side and drops to her knees, pressing a hand over MEG’s injury and helping her up by her uninjured arm. As they stand they look around warily; the PHANTOM is gone.)

 

MEG (gripping CHRISTINE’s hand and tugging it gently) We should go…

 

CHRISTINE Quickly.

 

(They exit. Unseen by them, hidden in the dark shadows, the PHANTOM watches.)

 

PHANTOM (in a dark snarl) Now let it be war...upon you both!

* * *

**Scene 4— MANAGERS’ OFFICE, NIGHT**

* * *

****(ANDRE and FIRMIN are in the office, accompanied by the VICOMTE. MEG is sitting before them on the other side of a desk, looking uncomfortable at the interrogation; MME GIRY is nearby, arms crossed, hovering—a mixture of exasperated and protective.)

 

GIRY ...could have been killed, Meg! Of all the foolhardy things to do—

 

ANDRE (flustered) Yes, well, that being as it may—

 

FIRMIN Far be it from us to interfere with your sphere of discipline, Madame Giry, but given that the little adventure (GIRY makes an incredulous noise and is ignored) did happen, and the young lady is back safe, it is imperative we at least learn what we can! (To Andre, in an undertone) You know, Andre, we could have bought any number of perfectly good opera houses...

 

MEG I’ve told you everything I know, messieurs.

 

VICOMTE You’re certain? You must have seen something, some hint as to how he accomplishes these—these tricks!

 

MEG I’m sorry, Monsieur le Vicomte, I’m sorry but I didn’t see...

 

(MEG looks helplessly at her mother)

 

GIRY Messieurs, if you please—

 

FIRMIN Well, if the girl really has nothing else to say. It seems we know nothing except that some lunatic is obsessed with Miss Daae, which is hardly a revelation!

 

ANDRE I mean! This...person is real enough, it seems. And a man can’t simply disappear into thin air!

 

FIRMIN And there is still the matter of the pony you stole, but given the circumstances…

 

(The VICOMTE holds a hand up for silence; everyone turns to him.)

 

VICOMTE  _We have all been blind_  
_and yet the answer is staring us in the face._  
_This could be the chance to ensnare our clever friend._

 

ANDRE We're listening.

 

FIRMIN Go on.

 

VICOMTE  _We shall play his game.  
__P_ _erform his work—but remember we hold the ace._  
_For, if Miss Daae sings, he is certain to attend._

 

ANDRE (carried along by the idea) _We make certain the doors are barred._

 

FIRMIN (likewise) _We make certain our men are there._

 

VICOMTE  _We make certain they're armed._

 

VICOMTE/ANDRE/FIRMIN (savouring their victory) _The curtain falls—his reign will end!_

 

(Beat)

 

GIRY _Madness!_

 

ANDRE I'm not so sure.

 

FIRMIN Not if it works.

 

GIRY _This is madness!_

 

ANDRE The tide will turn!

 

GIRY (increasingly alarmed, bordering on frantic) _Monsieur, believe me—  
there  is no way of turning the tide! _

 

FIRMIN (to GIRY) _You stick to ballet!_

 

VICOMTE (rounding on GIRY) _Then help us!_

 

GIRY _Monsieur, I can't._

 

VICOMTE  _Instead of warning us._

 

VICOMTE/ANDRE/FIRMIN _Help us!_

 

GIRY _I wish I could—!_

 

VICOMTE/ANDRE/FIRMIN _Don't make excuses!_

 

VICOMTE  _Or could it be that you're on his side?_

 

(MEG, furious, tries to jump to her feet and is once again restrained by her mother’s hand)

 

MEG: How dare you—

 

GIRY Hush, Meg. _Monsieur, believe me, I intend no ill._  
_But messieurs, be careful—we have seen him kill!_

 

ANDRE/FIRMIN (to GIRY) We say he'll fall and fall he will!

 

VICOMTE This is his undoing!

 

ANDRE/FIRMIN (to VICOMTE) _If you succeed you free us all  
this so called "angel" has to fall! _

 

GIRY (to VICOMTE) _Hear my warning! Fear his fury!_

 

ANDRE (to FIRMIN) _Christine sings  
We'll get our man. _

 

FIRMIN (to ANDRE) If Christine helps us in this plan.

 

VICOMTE Say your prayers, black angel of death!

 

ANDRE (to FIRMIN) If Christine won't, then no-one can.

 

GIRY (to VICOMTE) Monsieur, I beg you, do not do this.

 

ANDRE/FIRMIN This will seal his fate!

 

GIRY: You will kill us all!

 

(In the midst of the tumult, as it devolves into a shouting match, no one notices Meg stand and slip out, tiptoeing out into the opera house until she quietly lets herself into Christine’s dressing room. Christine is tiny and frightened, curled up on the floor in a dark corner, and Meg crosses to her side to put her arms around her.)

 

MEG You heard them shouting, didn’t you? I’m so sorry, Christine...

 

CHRISTINE: Meg, I'm frightened. Don't make me do this. (MEG strokes her hair, holding her close) Meg, it scares me. Don't put me through this ordeal by fire. He'll take me, I know. We'll be parted forever. He won't let me go...  
_What I once used to dream I now dread._  
_If he finds me, it won't ever end._  
_And he'll always be there, singing songs in my head._  
_He'll always be there, singing songs in my head..._

 

MEG (to CHRISTINE) _You said yourself he was nothing but a man.  
__Yet while he lives, he will haunt us till we're dead._

 

(CHRISTINE turns away unhappily)

 

CHRISTINE _Twisted every way, what answer can I give?_  
_Am I to risk my life, to win the chance to live?_  
_Can I betray the man who once inspired my voice?_  
_Do I become his prey? Do I have any choice?_

 _He kills without a thought, he murders all that's good._  
_I know I can't refuse! And yet, I wish I could._  
_Oh God—if I agree, what horrors wait for me_  
_in this, the Phantom's opera?_

MEG (to CHRISTINE, very tenderly) _Christine, Christine, whatever you decide,  
I’ll be right here; stand by your side in the darkness..._

 

(CHRISTINE, overcome by her conflicting emotions, turns and clings to MEG, burying her face in her shoulder)

* * *

**Scene 5— A REHEARSAL FOR DON JUAN TRIUMPHANT**

* * *

****(REYER supervises the learning of the new piece from the piano. Present are PIANGI, CHRISTINE, CARLOTTA, GlRY and CHORUS)

 

CHORUS _Hide your sword now wounded knight!_  
_Your vainglorious asconnade_  
_brought you to your final fight_  
_for your ride, high price you've paid!_

 

CHRISTINE _Silken couch and hay-filled barn  
both have been his battlefield._

 

PIANGI (wrong) _Those who tangle with Don Juan—_

 

REYER (stopping him) No, no, no! Chorus rest, please. Don Juan, Signor Piangi—here is the phrase. (He demonstrates it) " _Those who tangle with Don Juan._ " If you please?

 

PIANGI (still wrong) Those who tangle with Don Juan.

 

REYER No, no. Nearly—but no. "Those who tan, tan, tan."

 

PIANGI (still wrong) _Those who tangle with Don Juan—!_

 

CARLOTTA (to the OTHERS) His way is better. At least he make it sound like music!

 

GIRY (to CARLOTTA) Signora—would you speak that way in the presence of the composer?

 

CARLOTTA (deaf to the implications of this remark) The composer is not here. And if he were here, I would—

 

GIRY (cutting in, extremely pointed) Can you be certain of that, Signora?

 

(There’s an ominous silence at her words)

 

REYER So, once again—after seven. (He gives the note and counts in) Five, six, seven.

 

PIANGI (wrong again) _Those who tangle with Don Juan._

 

(Gradually EVERYONE starts either to talk or to practice the phrase simultaneously)

 

CARLOTTA Ah, pi— non posso! What does it matter what notes we sing?

 

GIRY Have patience, Signora.

 

CARLOTTA No one will know if it is right or if it is wrong. No one will care if it is right, or if it is wrong! (mocking) _Those who tangle with Don Juan!_

 

PIANGI (trying again) Those who tan. tan. (to CHRISTINE) Is right?

 

CHRISTINE (to PIANGI) Not quite, Signor: Those who tan. _tan_.

 

REYER (attempting to restore order) Ladies. Signor Piangi. If you please.

 

(REYER thumps the piano keys, then leaves the piano, and attempts to attract attention using signals. At the height of the mayhem, CHRISTINE moves away from the group. She sits quietly, staring blankly at nothing, almost corpselike. MEG, watching her from where MME GIRY’s ballet drills are proceeding in a much more disciplined manner, gets up to go to her. GIRY taps her cane against the stage and shakes her head, and MEG reluctantly falls back into line.)

* * *

 **Scene 6 BEFORE THE PREMIERE** **; THE OPERA HOUSE ON THE NIGHT OF THE PREMIERE OF "DON JUAN TRIUMPHANT''**

* * *

 ****(The orchestra is tuning. A whistle sounds the CHIEF FIRE OFFICER is reviewing two FIRE MARSHALLS in tin helmets. A worklight on a stand illuminates them. Also present are the VICOMTE, ANDRE and FIRMIN, supervising the proceedings, and a MARKSMAN, at present hidden in the pit)

 

CHIEF You understand your instructions?

 

FIREMEN (severely) Sir!

 

CHIEF When you hear the whistle, take up your positions. I shall then instruct you to secure the doors. It is essential that all doors are properly secured.

 

FIRMIN' Are we doing the right thing, Andre?

 

ANDRE Have you got a better idea?

 

CHIEF Monsieur le Vicomte, am I to give the order?

 

VICOMTE Give the order.

 

(The CHIEF blows his whistle. The FIREMEN fan out, leaving the VICOMTE, the CHIEF and the MANAGERS on stage)

 

VICOMTE (to the MARKSMAN) You in the pit—do you have a clear view of this box?

 

MARKSMAN (appearing from the pit) Yes, sir.

 

VICOMTE Remember, when the time comes, shoot. Only if you have to—but shoot. To kill.

 

MARKSMAN How will I know, sir?

 

VICOMTE You'll know.

 

FIRMIN Monsieur le Vicomte, are you confident that this will work?

 

VICOMTE Will Miss Daae sing?

 

FIRMIN Don't worry about that, monsieur. Andre?

 

ANDRE We're in your hands, sir.

 

CHIEF My men are now in position, sir.

 

VICOMTE Go ahead, then.

 

(Sounding his whistle again, the CHIEF shouts into the auditorium):

 

CHIEF Are the doors secure?

 

(Exit doors are slammed all over the building, The FIREMEN answering one by one: "Secure." The orchestra falls silent. Very quietly from nowhere, we hear the VOICE of the PHANTOM)

 

PHANTOM'S VOICE I'm here: The Phantom of the Opera.

 

(ALL look around apprehensively. FIREMEN start to run in the direction of the VOICE)

 

PHANTOM'S VOICE (from somewhere else) I'm here: The Phantom of the Opera.

 

(Again, they follow the VOICE. This happens several times, the PHANTOM'S VOICE darting more and more bewilderingly from place to place. Finally it is heard from Box Five, and in the confusion the MARKSMAN fires a shot. The VICOMTE rounds on the MARKSMAN furiously)

 

VICOMTE Idiot! You'll kill someone. I said: only when the time comes!

 

MARKSMAN But, Monsieur le Vicomte!

 

(The PHANTOM'S VOICE cuts in, filling the building. All look up)

 

PHANTOM'S VOICE No "buts"! For once, Monsieur le Vicomte is right.

 _Seal my fate tonight._  
_I hate to have to cut the fun short,_  
_but the joke's wearing thin._  
_Let the audience in._  
_Let my opera begin!_

* * *

**Scene 7 "DON JUAN TRIUMPHANT"**

* * *

****(The set of the final scene of "Don Juan TRIUMPHANT" A huge hall with an arch. Behind the arch, which has curtains, is a bed. A fine table, laid for two. PASSARINO, DON JUAN'S servant, is directing the STAFF as they make the room ready. They are a crowd of sixteenth century ruffians and hoydens, proud of their master's reputation as a libertine)

  

CHORUS _Here the sire may serve the dam!_  
_Here the master takes his meat!_  
_Here the sacrificial lamb_  
_utters one despairing bleat!_

 

CARLOTTA AND CHORUS _Poor young maiden! For the thrill_  
_on your tongue of stolen sweets,_  
_you will have to pay the bill_  
_tangled in the winding sheets!_

 _Serve the meal and serve the maid!_  
_Serve the master so that, when_  
_tables, plans and maids are laid,_  
_Don Juan triumphs once again!_

 

( _PIANGI, as Don Juan, emerges from behind the arch. He snaps his fingers. MEG_ _f_ _ollows en déshabillé. She pirouettes coquettishly for him. He throws her a purse. She catches it, kisses him and leaves._ )

 

DON JUAN _Passarino, faithful friend, once again recite the plan_.

 

PASSARINO _Your young guest believes I'm you—I, the master, you, the man!_

 

DON JUAN _When you met you wore my cloak, with my scarf you hid your face._  
_She believes she dines with me, in her master's borrowed place!_  
  
_Furtively, we'll scoff and quaff, stealing what, in truth, is mine._  
_When it's late and modesty starts to mellow, with the wine..._

 

PASSARINO _You come home! I use your voice—slam the door like crack of doom!_

 

DON JUAN _I shall say: "Come hide with me! Where, oh, where? Of course—my room!"_

 

PASSARINO _Poor thing hasn't got a chance!_

 

DON JUAN _Here's my hat, my cloak and sword. Conquest is assured, if I do not forget myself and laugh!_

 

(DON JUAN puts on PASSARINO's cloak and goes into the curtained alcove where the bed awaits. Although we do not yet know it, the Lasso has done its work, and SIGNOR PIANGI is no more. When next we see DON JUAN, it will be the PHANTOM. Meanwhile, we hear AMINTA (CHRISTINE) singing happily in the distance)

 

AMINTA (CHRISTINE—offstage, entering)

_No thoughts within her head, but thoughts of joy!  
No dreams within her heart but dreams of love! _

 

PASSARINO (onstage) Master?

 

DON JUAN (PHANTOM—behind the curtain) _Passarino—go away! For the trap is set and waits for its prey._

 

(PASSARINO leaves. CHRISTINE (AMINTA) enters. She takes off her cloak and sits down. Looks about her. No one. She starts on an apple. The PHANTOM, disguised as DON JUAN pretending to be PASSARINO, emerges. He now wears PASSARINO's robe, the cowl of which hides his face. His first words startle her.)

 

DON JUAN (PHANTOM) _You have come here in pursuit of your deepest urge,  
in pursuit of that wish, which till now has been silent, silent._

 _I have brought you, that our passions may fuse and merge._  
_In your mind you've already succumbed to me,_  
_dropped all defenses, completely succumbed to me._  
_Now you are here with me: no second thoughts._  
_You've decided, decided._

 _Past the point of no return_  
_No backward glances:_  
_the games we've played till now are at an end._  
_Past all thought of "if" or "when"_  
_No use resisting._  
_Abandon thought, and let the dream descend._

 _What raging fire shall flood the soul?_  
_What rich desire unlocks its door?_  
_What sweet seduction lies before us?_

 _Past the point of no return,_  
_the final threshold._  
_What warm, unspoken secrets will we learn?_  
_Beyond the point of no return._

 

(CHRISTINE remains silent, confused and conflicted. She nervously looks around – nobody senses that anything is wrong. Her voice is weak and shaky.)

 

AMINTA (CHRISTINE) _You have brought me to that moment where words run dry,  
to that moment where speech disappears into silence, silence._

 _I have come here, hardly knowing the reason why._  
_In my mind, I've already imagined our bodies entwining_  
_defenseless and silent…_

(At the moment she reaches the word “defenseless” CHRISTINE’s nervously wandering gaze falls on MEG, tucked in the wings. MEG is halfway through a costume change, tying her hair up with one hand, but has hurried to the edge of the stage and is watching with concern. For a heartbeat, their eyes meet. CHRISTINE gathers herself, and a bit of steel enters her. Her voice and resolve steady.)  
  
_...and now I am here with you: no second thoughts,_  
_I've decided, decided._

(As she sings, she gains more and more strength, approaching the PHANTOM with more intensity.)

 _Past the point of no return._  
_No going back now;_  
_our passion-play has now, at last, begun._  
_Past all thought of right or wrong._  
_One final question:_  
_how long should we two wait before we're one?_

 _When will the blood begin to race,_  
_the sleeping bud burst into bloom?_  
_When will the flames at last consume us?_

 

(Christine can’t take it any longer. She turns to run from the stage, but the Phantom grabs her and forcibly pulls her towards him. She tries to get away, but he is too strong.)

 

BOTH _Past the point of no return  
__the final threshold:  
__The bridge is crossed, so stand and watch it burn.  
__We've passed the point of no return._

 

(By now the POLICE have realized that SIGNOR PIANGI is dead behind the curtain, and it is the PHANTOM who sings in his place. CHRISTINE knows it too. As final confirmation, the PHANTOM sings):

 

PHANTOM (plaintively) _Say you'll share with me one love, one lifetime.  
Lead me, save me from my solitude. _

 (The Phantom takes a JEWELED RING off of his finger and places it on Christine’s – this is meant to be a proposal. She looks on, entreating him to stop with her eyes.)

_Say you want me with you, here beside you.  
Anywhere you go, let me go too. _

_Christine, that's all I ask of..._

 

(We never reach the word 'you', for CHRISTINE quite calmly reveals the PHANTOM'S face to the audience. Christine tries to run, but the Phantom, furious, pulls her back towards him. As the FORCES OF LAW close in on the horrifying skull, the PHANTOM sweeps his cloak around her and vanishes. MEG pulls the curtain upstage, revealing PIANGI'S body garroted, propped against the bed, his head gruesomely tilted to one side. She screams.)

 

(Utter pandemonium erupts. The stage is boiling with activity, the audience is screaming. Gunshots go wild. And then, as the POLICE try to establish order, the lights of the CHANDELIER begin to flicker. Suddenly, triggered by some unseen mechanism, one of the supporting chains snaps. The chandelier, off-balance, lurches drunkenly over the opera house, and any attempt at restoring peace is shattered. Crystal scatters into the seats as the audience attempts to get out from underneath; the weight and movement finally wrench the main cable free of its mooring, and the massive chandelier crashes into the orchestra pit as the MUSICIANS dive out of its path. Some do not make it.

 

Not all the gas lights were extinguished before the crash, and the fire catches and begins to spread as we transform to...)

 

**REVERSE VIEW OF THE STAGE**

 

(POLICE, STAGEHANDS, etc. rush onto the burning stage in confusion. Also: ANDRE, FIRMIN, the VICOMTE, GIRY, CARLOTTA and MEG. GIRY attempts to call the BALLET GIRLS to her; many in the CHORUS respond to her gestures instinctively as the only voice of reason, and she tries to direct them toward the exits.)

 

CARLOTTA What is it? What has happened? Ubaldo! (Horrified, she drops to the floor beside him)

 

ANDRE Oh, my God. My God.

 

FIRMIN We're ruined, Andre—ruined!

 

MEG (shoving her way through the crowd, grabs GIRY) Where has he taken her?

 

(There is, briefly, a pause as GIRY looks at her daughter, a moment where she may refuse to answer…)

 

GIRY Come with me!

 

CARLOTTA (wretched, sobbing over PIANGI's body) Oh, my darling, my darling. Who has done this? (hysterical, attacking ANDRE) You! Why did you let this happen?!

 

(She breaks down, clinging to PIANGI’s body. A member of the CHORUS grabs her shoulder and tries to pull her away as the fire spreads.)

 

MEG (hurrying in her mother’s wake) The passage behind the mirror?

 

GIRY No time. I can show you the faster route. But remember: your hand at the level of your eyes!

 

MEG (holding up her hand) The lasso. I know.

 

GIRY Remember it, Meg! First Buquet, and he knew the stories as well as you. Now Piangi—

 

MEG I’ll remember. Thank you.

 

GIRY This is no favor, my dear. But if you must go, I will give you what help I can. Now come, Meg! Or we shall be too late.

* * *

**Scene 8 THE LABYRINTH UNDERGROUND**

* * *

****(Meanwhile, down below, we see the PHANTOM and CHRISTINE in the underground passages The Phantom is dragging her after him, with Christine struggling in vain to resist. This journey is much more furious, much less beautiful than we remember it.)

 

PHANTOM _Down once more to the dungeon of my black despair!_  
_Down we plunge to the prison of my mind!_  
_Down that path into darkness deep as hell!_

(He rounds on her, bitterly)

_Why, you ask, was I bound and chained in this cold and dismal place?  
Not for any mortal sin, but the wickedness of my abhorrent face! _

 

(He hears the offstage voices of the pursuing MOB)

 

MOB (offstage) _Track down this murderer! He must be found!_

 

PHANTOM (moving off again; we’ve reached the boat, and he flings Christine down into it, pushing off across the underground lake)  
_Hounded out by everyone! Met with hatred everywhere!_  
_No kind word from anyone! No compassion anywhere!_  
Christine. Why? Why?!

 

(MEG and GIRY appear above. They make their way down, meeting a pack of rats. MEG screams and lowers her guard. GIRY grabs her wrist and pulls her hand into position again.)

 

GIRY _Your hand at the level of your eyes!_

 

MEG _...at the level of your eyes._ (She grimaces apologetically)

 

MOB (offstage) _Your hand at the level of your eyes!_

 

GIRY He lives across the lake, if I cannot convince you. You need go no farther, Meg—

 

MEG I have to. You…(a pause, as she hesitates) You know why.

 

(For a moment, GIRY just looks at her)

 

GIRY You never have realized the danger you place yourself in, my dear. I will try to bring help, if they will listen, but I fear it will come too late.

 

(MEG reaches out to take her hand. She hesitates as if she’s about to speak, then simply says…)

 

MEG Thank you.

 

(GIRY turns to go back up the slope. MEG looks at the water. After a moment she strips off what remains of her costume skirt and wades into the lake. The flickering torches of the MOB are visible in the distance.)

 

MOB _Track down this murderer, he must be found!_  
_Hunt out this animal, who runs to ground!_  
_Too long he's preyed on us, but now we know:_  
_the Phantom of the Opera is there deep down below._

_He's here: the Phantom of the Opera._

* * *

**Scene 9— BEYOND THE LAKE**

* * *

****(Christine, now dressed in the wedding dress, is torn from the bedroom by the Phantom (no longer dressed in Piangi’s robe). The mannequin of Christine, stripped of its clothing, lies bizarrely strewn across the silver throne.).

 

CHRISTINE (Coldly furious) _Have you gorged yourself at last, in your lust for blood?  
_ (no reply)  
_Am I now to be prey to your lust for flesh?_

 

PHANTOM _That fate which condemns me to wallow in blood_  
_has also denied me the joys of the flesh._  
_This face—the infection which poisons our love..._

(He takes the bridal veil from the dummy, and moves slowIy towards her. Christine turns away.)

_This face, which earned a mother's fear and loathing.  
A mask my first unfeeling scrap of clothing. _

(In rage he turns on Christine and tears her around, forcibly placing the veil on her head.)

_Pity comes too late—turn around and face your fate!  
An eternity of  this before your eyes! _

 

(They are almost touching. She looks calmly and coldly into his face)

 

CHRISTINE _This haunted face holds no horror for me now.  
It's in your soul that the true distortion lies._

 

(The PHANTOM suddenly senses MEG'S presence. Behind the portcullis, MEG climbs out of the water)

 

PHANTOM _Wait! I think, my dear, we have a guest!_

 

CHRISTINE (horrified) Meg!

 

PHANTOM(to MEG) _Sweet girl, this is indeed an unparalleled delight!_  
_I had rather hoped that you would come._  
_And now my wish comes true—_  
_you have truly made my night!_

 

MEG (pleading, grasping the bars of the gate) _Free her!_ _You’re not an animal, free her! She’s hurt, she’s frightened—_

 

PHANTOM (to CHRISTINE, mocking) _Your lover makes a passionate plea!_

 

CHRISTINE _Please, Meg, it's useless—_

 

(The words sound like Meg’s soul is being torn from her chest)

 

MEG _I love her! Does that mean_ _nothing?!_ _I_ _love_ _her!_ Show some compassion!

 

PHANTOM (a furious snarl) The world showed no compassion to me!

 

MEG _Christine. Christine..._ (to PHANTOM) Let me see her.

 

PHANTOM _Be my guest…_ (he flicks a look over Meg and finishes in a sneer)... _sir._

 

(He gestures, and the fence rises. MEG enters. Fatally, as she reaches out toward Christine, the hand she reflexively extends is the one she was holding beside her eyes.)

 

CHRISTINE Meg, my angel—

 

(The PHANTOM doesn’t take that well; the sharp look he throws CHRISTINE stops her still in her tracks, and he turns back to MEG. He spreads his arms in a falsely jovial welcome, but his words drip venom as he slowly approaches her,)

 

PHANTOM _My dear, I bid you welcome!_  
_Did you think that I would harm her?_  
_Why should I make her pay_  
_for the sins which are yours?_

 

(So saying, he takes the lasso and, before MEG has a chance to move, strikes with it like a whiplash. The noose catches her around the neck and tightens with a flick of his wrist. As Meg struggles and chokes against the rope the Phantom pulls more out of hiding places and pulls her hands away from attempting to loosen the noose, binding them to the portcullis while he taunts her.)

 

PHANTOM _Hide behind your mother’s blood!_  
_Raise up your hand to the level of your eyes!_  
_Nothing can save you now—except perhaps Christine!_

(He grabs CHRISTINE violently, catching her as she runs forward and dragging her away from the portcullis before she can try to help.) 

 _Start a new life with me—_  
_Buy her freedom with your love!_  
_Refuse me, and you send your lover to her death!_  
_This is the choice—This is the point of no return!_

(CHRISTINE pulls herself free of him and, for a moment, just stares in him, shaking with fury and heartbreak)

 

CHRISTINE (bitterly) _The tears I might have shed for your dark fate  
grow cold, and turn to tears of hate!_

 

(She tears the veil off of her head and throws it to the ground.)

 

MEG (despairing) _Christine, forgive me, please forgive me.  
__Let me die rather than be used against you—!_

 

CHRISTINE (towards the Phantom) _Farewell my fallen idol and false friend.  
One by one I've watched illusions shattered. _

 

PHANTOM _Past all hope of cries for help: no point in fighting_ —

 

MEG _Either way you choose, he has to win._

 

PHANTOM _For either way you choose, you cannot win!  
__So, do you end your days with me, or do you send her to her grave?_

 

MEG (to PHANTOM, dripping with hate despite her fear, as the PHANTOM sadistically pulls the lasso tighter around her throat) _Why make her_ _lie to you_ _to save me?_

 

CHRISTINE _Angel of Music..._

 

PHANTOM _Past the point of no return—_

 

MEG Christine, I’m begging you, say no!

 

CHRISTINE _...who deserves this?_

 

PHANTOM _—the final threshold._

 

MEG _Don't throw your life away for my sake!_

 

CHRISTINE _When will you see reason?_

 

PHANTOM _Her life is now the prize which you must earn!_

 

MEG _I will not be your jailer..._

 

CHRISTINE _Angel of Music..._

 

PHANTOM _You've passed the point of no return._

 

CHRISTINE (through the despair, a glimmer of very personal anger) _...you deceived me._ I gave you my mind, blindly.

 

PHANTOM (to CHRISTINE) You try my patience—make your choice!

 

(She reflects for a moment, then with resolution moves slowly towards the PHANTOM)

 

CHRISTINE (quietly at first, then with growing emotion) _Pitiful creature of darkness.  
What kind of life have you known...?  
__God give me courage to show you you are not alone!_

 

(CHRISTINE takes an unexpected move: tears streaming down her cheeks, she turns him around and kisses him long and full on the lips. The embrace lasts a long time. Meg watches in horror and agony.  
  
She pulls back from the PHANTOM, who is stunned and shocked. Christine’s sacrifice is too much for him to bear. Then the PHANTOM moves. Slowly and resolutely, he walks toward MEG. The PHANTOM takes a lighted candle and holds it near MEG's face. A tense moment. But the suspended rope suddenly falls harmlessly—the PHANTOM has burned the rope by which the noose was held.

 CHRISTINE rushes forward to help MEG free of the ropes; they kiss, fierce and frightened, Christine kissing Meg’s face as they work like she can’t quite stop herself. The PHANTOM ignores them now, turning away.)

 

MOB Some: _Track down this murderer_ _—_ _he must be found!_  
_Hunt out this animal, who runs to ground!_  
_Too long he's preyed on us—but now we know:_  
_the Phantom of the Opera is there deep down below!_

 

MOB Others: _Who is this monster, this murdering beast?_  
_Revenge for Piangi! Revenge for Buquet!_  
_This creature must never go free._

 

PHANTOM Take her—forget me—forget all of this. Leave me alone—forget all you've seen. Go now. Don't let them find you! Take the boat—leave me here. Just take her and go—before it's too late. Go. _Go now—go now and leave me!_

 

(MEG and CHRISTINE move off towards the boat; CHRISTINE supports most of a badly winded MEG’s weight. The PHANTOM looks mockingly at his mask. The musical box starts up, and he listens to it)

 

PHANTOM _Masquerade. Paper faces on parade. Masquerade. Hide your face so the world will never find you..._

 

(CHRISTINE re-enters and walks slowly towards him. She takes off the large “engagement” ring forced on her earlier, and gives it to the PHANTOM)

 

PHANTOM _Christine, I love you..._

 

(She hurries off. The PHANTOM puts the ring on his finger)

 

CHRISTINE (In the distance, to MEG, as the boat pulls away in the shadows)  
_Say you'll share with me, one love, one lifetime.  
Say the word and I will follow you. _

 

MEG _Share each day with me._

 

CHRISTINE _Each night..._

 

BOTH _Each morning._

 

PHANTOM (looking after her) _You alone can make my song take flight…  
It's over now, the music of the night! _

 

(The PHANTOM walks slowly towards the throne. He takes his place on it, sitting on his cloak. The MOB including GIRY, appears above, climbing down the portcullis. As the MOB enters the lair, the PHANTOM wraps his cloak around himself and disappears.

 

GIRY crosses to the throne and picks up his mask in her hand, looking around the lair. It’s empty.)

**Notes for the Chapter:**

> It's been 84 years...
> 
> I hope you guys aren't too mad at me about all the moving-around I did in the second act! This format let me hit the emotional beats better, and I'm always here for giving Mme Giry slightly more stage time, because she is perfect.
> 
> Hope you guys enjoyed this! You would not believe the workload involved, but I loved it. Thanks for taking the time to read this far!


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